Tricks In Magic

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Tricks in Magic,

ILLUSIONS,

Mental Phenomena.

'duke street

! CHARING
LONDON

.. w.

CHICAGO:

The Clyde Publishing Co.
189^.

s

o the Reader:

| The effects in' 'this pamphlet are selected from among

lose secrets that have become common property in the
jagical field, and are given just as sent out by the vendors,
ccept that the orthography has been corrected,
i The Compiler.

The State Library of Victoria
ALMA CONJURING COLLECTION”

TRICKS IN MAGIC.

1 Handkerchief Multiplication.

Get two silk handkerchiefs and put each in a small
paper tube, and place each behind ear and keep in place
with a small piece of wax. Show silk handkerchief and
hand empty. Take handkerchief between hands by cor-
ners and lay over head. „ Take tubes from behind ear
and produce in course of time.

2 Now You See it; Now You Don’t; Handkerchiei.

This trick although simple is one of the prettiest
sleight of hand feats in existence. Use a fine small silk
handkerchief, between the joint and thumb and forefin-
ger of left hand conceal a small piece of the same silk
rolled up in a ball. Roll up your sleeves, show hands
empty, have handkerchief examined and taking it be-
tween the hand roll it up into a ball which youj pre-
tend to pass into left hand, but really palming it in
right. Let silk at rear of thumb expand in left hand,
letting audience see it, they are now sure that the hand-
kerchief is really there ; meanwhile you get rid of the
handkerchief proper. In due time join hands roll up
the bit of silk into a ball again and press it back in its
former hiding place, then show handkerchief gone and
hands empty. Cause handkerchief to reappear by

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causing silk to expand and let it be seen, vanish t
silk as described above.

3 Soup Plate and Handkerchief.

The handkerchief is rolled up very small and is hi
between the soup plate and hand, while the perform
is calling attention to the plate. When in the act*
laying the plate down, under cover of the plate drop tl
handkerchief. Vanish as follows : A small ball of at
suitable material about an inchin diameter and with a
opening on one side of it about half an inch in diamelf
is attached to a wire loop. This loop is slipped on
the thumb of the left hand. Performer takes a sat
silk handkerchief and works it into the hollow ball at
under cover of the right hand slips the rubber ball os
the hand and allows it to hang down at the back of It
hand. Palms of both hands can now be shown empt
performer picks up soup plate in his left hand and £
hibits the duplicate handkerchief underneath and hold
soup plate in his left hand and under cover of the plsc
drops the handkerchief and vanisher on servante at
carelessly calls attention to the back of the hands. TH
can be done very quickly.

4 Mephisto's Glass Cylinders.

Effect — Two glass cylinders are shown and the
placed opposite to each other on the stage, Perform
borrows a dozen handkerchiefs and has them all tied to

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gether; he then places them in either cylinder, as select-
ed by the audience. Performer now commands the
handkerchiefs to vanish, which they instantly do, and
appear in the other cylinder which was previously shown
empty. These cylinders can also be used for the van-
ishing and appearing of birds, rabbits, liquors, flowers,
etc., etc.

Secret — Hltve a cylinder of opaque glass about two
feet high ; also two shells of same colored glass which fit
over the genuine cylinder that has bottom in it; also
have t' j pedestals (imitation of marble), which are hol-
low ; these are placed over traps in stage at each side.
Assistant under stage has a long rod on one end of which
is a wooden disc ; this disc is a little smaller than the
inside of glass shells. Performer shows shell and cylin-
der together, then places them on one of the pedestals ;
assistant pushes up rod from below so that disc is flush
with top of pedestal. Performer now places the other
cylinder (shell), on the second pedestal. He now bor-
rows some handkerchiefs and has them tied together,
these he places in first cylinder and, on command to
vanish, assistant quickly lowers rod and disc (cylinder
containing handkerchiefs is resting on disc), down, and
quickly shoves it up into the shell on second pedestal,
from which the performer produces the handkerchiefs.
Performer steadies outer shell, by placing his wand
across top of it and bearing downwards, meanwhile ad-
dressing the audience upon some point of interest, while
assistant pushes up inner cylinder. Of course you must
have audience imagine that both cylinders have bottoms
in them.

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5 The Flight Through Crystals. ^

Effect — You hand to audience for examination, thr c
silk handkerchiefs ; one red, one white, and one blq
Next you show the two crystal cylinders, such as is u; {
on gas jets. Have someone in audience to tie the co«
ners of blue and white handkerchiefs together and rci
them into a ball, which you place in one of the cylij
ders, and give to someone to hold. You next take ti
red handkerchief and place it in the other cylinder, a»
hold one hand over each end of cylinder, and away froi
your body. You now command the red handkerchief (
vanish, and instantly the cylinder is seen empty ; hani
are still covering both ends. • Person holding the otk
cylinder removes the two handkerchiefs and unroll
them, and to their astonishment they find the red hani
kerchief which had disappeared from the other cylinde
between the blue and white handkerchiefs, all being tie
together. Very effective.

Secret — After person has tied blue and white ham
kerchiefs together, you request him or her to roll ham
kerchiefs into a ball, rolling the white one inside of tl
blue one, and place ball on a plate which you holi
On returning to stage you palm duplicate ball froi
under your vest, and drop it on plate and pali
first ball which you place under your vest. The ba
now on the plate is composed of three handkerchiefs, tl
blue one being on the outside of the ball. Now take oi
of the cylinders from table and place on plate mi
ball ; going to someone in audience, have them plai
ball in cylinder and hold the palms of their hands ov
each end of cylinder. Performer returns to the staj

mcl picks up red handkerchief and slips it through loop
if "pull,” which until now has been over left thumb,
tfow you take up the cylinder and place handkerchief in it
md, holding palms of hands over each end of cylinder,
fou command handkerchief to vanish, at the same time
raise hand a little from end of cylinder on the side which
pull is, in order to alio tv handkerchief to slip out easy,
►vhich is drawn up your sleeve by pull, as you extend
your arms a little ; place cylinder on table and walk to
person holding the other cylinder and have them remove
ball, which they unroll and find the three handkerchiefs
all tied together ; red, white and blue.

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G The Chameleon Handkerchiefs.

! Three silk handkerchiefs perfectly white, 'are given
for examination; also a small sheet of paper, all of
which is found to be free from deception. The paper is
then rolled up in the form of a tube, the three hand-
kerchiefs pushed in one at a time, a few “passes” and
the paper is unrolled, when the handkerchiefs will be
found to have changed to red, yellow and blue.

Secret — For this trick you have a tin tube 3
inches long inch in diameter;, also a piece of

white paper 8 inches square, and six handkerchiefs ;
three white, one red, one yellow and one blue. The
three white handkerchiefs are laying on your table, also
the paper for cone. Under paper have the tube pre-
pared as follows : Cover the tin tube with one end of

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the red ‘handkerchief, and sew it nicely, so that 4
you take the red handkerchief out of paper cone s
tube hangs behind the handkerchief. You tuck the
handkerchief into tube first, then the yellow c
then the blue one, and all is ready. To perform, si
the three white handkerchiefs one at a time, to pi
that they are unprepared ; then' lay them on your ta
and take up the paper. The three white handkerct
conceal the tube that was under paper. Show pa
and roll into a cylinder, then take up a white hand!
chief at same time the tube containing the colo
handkerchiefs, which is not noticed by audience as i
concealed by white handkerchief. Get the tube i
the paper cylinder behind white handkerchief, in
act of pushing in the white handkerchief. As ii
pushed in, out comes the blue handkerchief. H
push in second white handkerchief and out comes
yellow handkerchief, then push in the last white ha
kerchief and out comes the red handkerchief, allon
it to hang over the paper cylinder, then catch it i
top of cylinder and pull it out, tube and three W
handkerchiefs are drawn out as the tube is sewed to
handkerchief, lay it on table, no one suspecting the
handkerchief contains a tube and three white hand
chiefs, now open paper and show it is empty. Anoi
method of loading tube into cylinder is as folio
Have a fine wire loop attached to one end of tube,
concealing tube under vest at bosom, allowing loo]
hang out. In the act of showing the paper (which
hold in both hands), catch thumb of left hand
loop, and as you start to convert paper into cylin

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icretly pull tube into same. And still another method
i to have the tube concealed on back of chair, and
hen you show white handkerchiefs throw them over
ack of chair, then show paper and make it into eylin-
er, taking up one of the white hankerchiefs you se-,
retly take tube with it and push into cylinder, etc.

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( New Postal Card Trick.

r ; First take a postal card and prepare it with writing,
then fold it twice, but before folding tear a square cor-
ner off, place the folded card in one of your vest pock-
ets and the corner in the other. Now fold your card in
the middle lengthwise once, and then fold in the middle
Irosswise once. When you wish to introduce the trick
ihow committee a clean card, while they are looking at
! t palm your prepared card and corner, then take the
lard from the committee, hold it up so audience can see
't and tear off a corner as near the shape as you can to
irepared one. Now ask one of the committee to fold
She card and while he is doing so give the prepared cor-
ner to one of the committee and get away with the
dean corner, now take the folded card from person and
while showing it to audience exchange for the prepared
sard and place this in someone’s hat with a lead pencil,
;hen request spirits to write, after a few moment’s re-
quest party to take the card and see if there is any writ-
ing on it. Let him read message and match corner to
jhe one other party holds and it will, of course, be found
to fit exactly.

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8; Cards Nailed Between Boards.

Take 3 cards and blacken their backs. Nov.’ fa
small tack through each card, so that point is os
back. Lay them on table with backs up. Take tm
dinary boards ; have them examined. Lay boari
table, the bottom one over the cards. Get hammei
nails and give to someone. Pick up boards (earth
stick to them) and place them together, so that c:
come between and have them nailed. Force 3 ci
similar to those between boards and proceed with tr

0 Demon Cards.

For this experiment you require two packs of p!
ing cards, one an ordinary pack and the other a ]
pared pack as follow: Take an ordinary pack and

a small piece off the end of each card. When all
cards are cut this way the pack will be a trifle sho
than an ordinary pack. Have this pack lying n
your table where it will not be noticed. Performer c
attention to the ordinary pack and hands it to any
son and instructs him to go among the audience
have any amount of cards selected. Pack of cards
then returned to performer, who walks back to the fc
for the purpose of getting a glass tumbler and he seer
exchanges the prepared pack for the ordinary p:
these he places in the glass goblet and has any pei
go through audience and collect all the cards which i
drawn, and shuffles the pack. Cards are then ph

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performer^ pocket and he at once produces all the
rds drawn. All he has to do is to select the cards
at are a trifle longer than the balance of the pack.

i Pipe Trick.

l ' Take clay pipe, fill up with wadding (cotton wadding)
osely and keep in place at mouth of bowl by a wire
reen. Wet cotton with gasoline. Prepare soap water
,'d make soap hubbies with pipe. Let float in air and
;ht bubbles with candle, they will explode with a big

ime.

£

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L The Wa-Ha-Gl-Billiard Ball.

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; Over the billiard ball fits a half shell of glass, under
e cover of the handkerchief the solid ball is palmed
?ay while the spectator holds the glass shell, which
len dropped into the water turns over and remains in-
3ible. The bottom of the glass is just large enough to
ceive the shell. To hide the edge of shell two stripes
e etched on the glass.

5 Magic Die, Flowers and Glass Box.

Have a three inch die and glass box made so you
n place the die inside the box. Also hare a handker-

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chief made by sewing two handkerchiefs together
stitching between the handkerchiefs five pieces of r
cardboard which are the same size as die. The fk
are spring flowers same as used for paper cone,,
are fastened on back of handkerchief with athi
Thus prepared place die in handkerchief and takingj
of cardboard in handkerchief let die drop onto sere
and place handkerchief - over box and make the nr,
as if trying to get the die in glass box, while doii
break the thread and the flowers will fill the box, ret
handkerchief quickly and the die has vanished,
audience see flowers.

13 Ice Freezing Extraordinary.

A square tin box is brought on the stage and pi
on a skeleton frame, shown empty and where it rei
during the entire experiment.' It is then filled
water and covered with a thin cover. A candle is
placed under tin box, about the centre and remainsl
a few moments, then cover is removed and a large
of ice, nearly filling the box, is taken from box.
ice may be either broken and previously borrowed
cles found imbedded in it, or ice for making lemo
(magically).

Explanation — Box is made on plan of Inexhatu
box, i. e. bottom double and works on hinges, showf
and set box on it, the box containing cake of ice.
box towards audience and thus show empty, tip toi
shelf and show bottom solid, etc. Water runs dowi

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: ice, through hollow legs, into bottom of frame. There
:e two holes in the real bottom for the water to pass
trough, these being near corners, over front legs, and
re concealed by fingers when bos is turned forward to
low empty. Use faked pail having false bottom near
>p to show full of water. Ice cannot entirely fill box,
3 tin could not be tipped forward. Size ascertained by
rial.

4 New Programme, Ring, and Envelopes Trick.

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■ Effect — A ring is borrowed, also a programme, and
ie latter is torn in two. Volunteer is invited on the
latform. Half of the programme is spread over the
and and the ring placed on it. The performer then
sjueezes up the programme and ring, and commands
ae programme to change into a series of envelopes,
dth the ring in the centre one, and this is found to
;ave been done. Volunteer has to open the four envel-
pes before he finds the ring. Perforaer now repeats
iie trick with the other half of the programme, and
gain the ring is found in the innermost envelope, and is
eturned by the volunteer to the owner. The broken
nvelopes are then taken in the hand, squeezed up, and
ransformed into programme again. “Very elaborate
fleet.”

Secret — The ring is changed on wand (old dodge),
'lie first series of envelopes is perfect (made out of
imilar programmes, of course) and carefully sealed up
dth dummy ring inside, concealed (say) in right

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pochette, and (when programme is handed) taken
tween root of thumb and finger— forefinger. The j
gramme is laid on the hand, the substitute ring
placed thereon under the thumb, all squeezed up, i
envelopes produced — the programme is slipped i
pocket while the audience are gazing at the opening
the envelope. Lay great stress on the fact of each
velope being securely fastened, and ask the voluntet
he can take out the ring without breaking the seals, t
etc. Meanwhile arrange for the repetition of the tri
The second series of envelopes is open at one end, i
has a flat thin tube (a la shilling in ball of wool) ii
into “not quite” the bottom of the smallest one |
tube to fit loosely), and place each succeeding envel
wax side downwards. While the volunteer is woii
with the first set, drop the borrowed ring down the I
into the innermost envelope (say in the right poche
shake the tube, withdraw it, then bend the ends of
envelopes over tightly, and proceed with the trick '
the second half of the programme as before, asking
volunteer if he would like to do the trick.

A good finish is made by collecting all the en
opes, having a complete programme in the hand,
changing them for it. To do this simply squeeze up
bundle, bring the programme to the top, and han
over, immediately taking wand in hand.

15 Bertram’s Programme and Coin Trick.

The program at the hall you are performing at shi
be (for convenience) printed on special paper. L

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aper. Preparation for the trick : You must now get

ne of these programmes and cut it into four equal parts
nd make out of it 4 little envelopes so that they will go
ne into the other. Now borrow a marked quarter on a
mall plate and then get a gentleman on the stage to
old the plate and keep his eye on the quarter. Take
ip the quarter in your finger and call attention to the
act that the coin is not for one moment removed from
heir sight, but left in full view on the plate. Just as
E ou are about to put it on the plate, riDgthe change and
We the substitute on plate and keep the marked one
Alined. Now borrow a programme from any one and call
(our assistant to bring you a stick of sealing wax, when
■.e comes on the stage and hands you the wax, you put
he marked quarter in his hand as you take the wax,
ind he at once goes off, plaees the coin in envelopes,
! ne in the other, sealing them (sealing each one) ; per-
brmer now gives the programme to gentleman on stage
felling him to wrap quarter in it. While he is doing
his, the assistant places on table the envelopes and
hen walks off taking something with him. Performer
low picks up wand from table and with the same hand
hkes up the prepared packet and steps toward gentle-
aan saying : “That is not the way to wrap it ; take it

*ut again,” and the performer then spreads out the pro-
gramme over his hand which contains the prepared
lacket. Now let gentleman place quarter on programme
jeneath thumb and crumple it up in hand at same time
ailing attention to the fact that you double it up with
me hand only and as you do so gradually work the
»arcel of packets up on to the top of programme that

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you have just placed the coin in. Quickly get it to
tips of fingers and let gentleman hold it in his h
You then take the sealing wax and strike the packet!
times; then tell gentleman to unfold programme at
his surprise he finds an envelope sealed with wax,!
he opens and finds another also sealed, then a third
a fourth, this fourth is given to the person of whom
borrowed the coin, and let him ascertain that it is
identical quarter he offered. Now take the piece:
programme in one hand while with the other you sect
palm a nicely folded programme then place the pii
on it quickly and squeeze them up into a ball in
hand. Work the programme to the top, then to the
of fingers, and let gentleman unfold programme,
while he does so get rid of the pieces. Show prograi
is restored and hand it back to the person it wasl
rowed from, and end.

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16 New Chair Mystery.

The performer is provided with a piece of black
thread made stronger by black wax. One end is
tached inside the left leg of his trousers and the othi
attached inside his right leg of trousers. The loop!
made hangs down and touches the floor, but in a rt
well lighted the fine thread cannot be noticed. 1
former takes the chair and after rubbing his hands!
it, causes the leg to fall into the loop. He then ba
away gently and the chair follows him, while he \
tends to be throwing whole chunks of magnetism int

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this is entirely new, being the invention of a European
nedium. (?)

17 How to Tell Numbers of Borrowed Watches.

1 All that is necessary for the performance of this trick
is the knowledge of the number of one watch, which is
supplied by a confederate. The trick is now worked
ihe same as in reading “envelopes.” When the first
watch is picked up he reads off the number of the in-
iide of confederate’s watch case. He now opens the
Watch case and reads off confederate’s number and then
hotes the real number which he reads for the next watch.

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The audience are requested to note the numbers as read
Und when the watches are returned the owners state
that the performer has been correct in his assertions.

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18 Slade’s Wonderful Spirit Knots.

With this trick Slade very successfully duped the
celebrated German Scientist, Prof. Zollner.

Secret — Have two cords of the same length and same
kind, into which have your “victim” make three knots.
In your sleeve you also have two similar cords without
knots. The four ends of the last two cords extend as
far as the ring you wear on middle linger of right hand,
they are just pulled through under this. Take the
knotted cords and place the four ends together, at the

19

same time secretly pull out the four ends from ns?
the ring and place them over the end of the first ce
so that first ends are hidden by hand, while the spec,
tor believes the visible ends to be the ones belong
to the knotted cords. Have these visible ends sealet
the table top or to a card, using if possible a Strang;,
seal, move hands towards the rear and downwards, t
the cords pull out of the sleeves. Take the knot-
cords bunch them up and get rid of them, in due £
spectator finds that the knots have disappeared fr
the cords. This experiment should be skillfully f
formed and proper mise-en-scene arranged for it, bj
versing the process you can cause knots to appear
one or two cords that were apparently sealed to ts
minus knots. A table cloth pushed slightly towards'
front of the table to make room for the sealing wot
more effectively hide the spiriting away of the first ce

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19 Dexters Sealed Cord Test. j

Have board three by five feet with two staples n
examined bylaudienee or committee, board then pis?
against wall, a box height of chair and placed THE
INCHES FROM BOARD; The staples correspond
lady’s neck, and about three inches above small
back. (?) Two gentlemen are chosen by audienct
tie lady, first gentleman ties string around lady’s®
through staple, good knot solid and secure, f
gentleman ties string around lady’s wrist (right r

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and passes string through staple to other gentleman at
the same time lady catches up a little slack of string
and pushes her hand down behind her and below the
staple, gentleman then pushes lady’s left hand back and
ties the other end of string around her wrist, all ready,
gentlemen leave the stage. A plate is placed on lady’s
lap, glass of water placed on plate, curtain drawn in
front of lady. Lady can reach and get glass and drink
water, taps foot, curtain drawn back, audience see glass
empty, (also hears glass placed back on plate) next
handkerchief is tied around lady’s neck, (lady used one
hand and teeth to tie knot) other tests, etc., etc. Per-
former with a knife cuts string which is around lady’s
neck, lady bends forward and then cuts lower string
close to hands and lets the piece of string drop behind
the box. Lady steps forward and holds up hands to
audience to examine knots, etc.

Whoever named the above, “Dexters Sealed Cord
Test,” knew nothing whatever of Dexter, because he
never used any such kind of a tying feat.

520 BeUachini’s Cabinet Mystery.

Preparation — Make a large sack of dark flannel, 7
feet long by 2£ feet wide. Cut two small holes two
inches apart at back of sack, and as high as your wrists
when standing in sack. Have four pieces of tape, two
pieces one and a half feet long and two pieces one and a
quarter feet long. Commence by asking two persons to

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step upon the stage and allow them to examine the i
have the two small pieces of tape in your pocket ?
you can get at them quickly. Next show the 1
pieces of tape and request the persons to tie a f
around each wrist and seal the knots, you now get
the sack and while getting in you must manage to
the tape out of your pocket and stick them through
holes in sack, and have them tied and sealed, it
now appear as if your hands were secured. Pieces
tape are tied, you now get in to cabinet and have:
tain closed, and you can ring bells and blow horns, e;
etc. Then curtain is opened and knots examined. I
ask one of the committee to step in the cabinet, have*
eyes blindfolded, curtain closed, then you turn his t;
inside out, take off his collar, etc., and then get b
into position and have curtain opened; this mafe
laugh. When ready to finish your act have knots s
amined, etc. After the person has untied the ts
quickly pull them in and put them in your pocket i
pull out hands, showing wrists as tied at first.

Whoever named this act, knew nothing about Bet
chini or his work. He never did anything in this E

21 The Three Knotted Charmed Handkerchiefs,

Can be introduced into either light or dark seam
or where hands say are handcuffed behind back, or a
similar manifestation. First method: Is to bow
three handkerchiefs, have them tied up, or your assi

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! 'ant pulls the knots into the required slip knot, (the old
knotted handkerchief “fake”) and a simple pull with
them of course separates them. Ho simply hangs them
on top of screen or in front of you, or cabinet in which
you are manifesting, or he can throw them over to you,
in either case you pull them apart. Tie one around
each arm at elbow and third around head, slip hands
'into bonds again as you call for cabinet to be opened.
Second Method : Is to use your own handkerchiefs of

which you have duplicates, the moment you receive the
knotted ones which in this form may be knotted up in
all sorts of form or ways by audience, or better still
while assistant is making an observation. Before
handkerchiefs are thrown into cabinet you free yourself
and tie duplicates in the required position, and when
you receive the knotted ones pop them into pocket, slip
into bonds and have cabinet opened as you do so.

22 The Eglinton Hope Test.

An excellent rope tie, much used in England. Per-
former comes out with a piece of rope which he has
some one tie around his wrist very tight, knots sealed,
ends of rope tied to chair back and sealed. Use cabinet
or canopy, doors closed and tests occur. Medium has
a blade of knife sewed at back of trowsers and cuts the
cord right through and produces from his pocket another
rope similar to the first one, “faked” as follows : have a
piece of rope same length as the one in hand when eom-

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ing before the audience, tie two single knots about (-
or four inches apart which will be two inches from
centre, have these knots sealed with wax, now ^
double knot on rope, tying ends together and havej
knot about one inch or so on each side from the si,
knots, have sealing wax on this knot also. Perfot^
takes particular notice how the first rope on his m
are sealed and so he seals the knots, while the lectm
going on and can be done quickly. Medium then j
ends through back of chair and fastens rope as the i
one was fastened then sits down in chair, thrusts';
hands through the large loop gives his hand a tv
around so that the two single knots meet between t
two wrists and these two knots being sealed separate ^
pear as one, when wrists are together, and the two faj
appear as one good knot. Lights up, inspection folltj
and medium found securely tied. Conceal first roj|
gentleman from audience cuts the rope to show all ti,
or release yourself and disappear through back of canoji
ThiB is also mis-named, Eglinton, the medium, i
not use rope tying feats. j

23 One ot the Davenport Hope Ties. i.

Use a common wooden bottom chair with two hoi
at back of seat. Rope used is about two yards Ion;
and tied around one wrist up as far as possible, boi.
hands then placed behind back and wrists tied togetk
performer holding his arms as straight as possible, s

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hat the rope is tied well up on wrists ; then performer
teps into cabinet and ends of rope are pushed through
loles in chair and secured, door closed and work com-
nences. The cord being well tied up the performer’s
mst, by slacking the hands he can easily squeeze out
if the knots. From position behind it is impossible to
ie hands so that one cannot be gotten out, one out he
ilackens the other knot and hand slips out. When
nanifestations are through he appears with rope in his
lands and says he will be found tied up as the audi-
mce tied him in the space of one-half minute, while
ialking he folds rope up in hands and at the moment
loor is closed he changes it for another concealed rope
if same kind tied in a double bow knot, loops being in
;he centre. By pulling ends, loops become smaller and
lighter on wrists ; he ties ends under chair, slips hands
ihrough loops giving one a full turn around and holding
irms and hands as at first, he appears similarly bound.
Inspection follows.

24 Braid and Tape Test.

Take a piece of tape about two feet long in your
hand and call up two gentlemen out of audience to tie
you up ; after they come up you go into cabinet and sit
down on the chair, which is a common spindle chair
with the spindles running up the back, so when you sit
down on chair give them the tape to tie around your
wrist, they will tie it the same as vanishing knots. After
they have tied one wrist you ask them what kind of a

25

knot is this, at the same time pulling on one end t
tape thereby converting it into a slip knot. Ner
put your hands behind your back and at the same
run the other end through the back of chair, ei
them tie it to the other wrist, expanding it as mui
possible, for it gives you more room to work the 1
back. You should always have two or three pied
tape in your pocket tied with a slip knot, for if
should tie you too tight, you could break the tape
put it in your pocket and place one of the other!
on your hands. Then perform your tricks such as
bell, showing your hands through hole in cabinet,!
etc.

25 The Medium’s Tie, Similar to No. 23.

Use street ear cord and allow knots to be pulled i
tight, which cannot be enough to give pain. Havej
left wrist tied tightly, knot sealed and hands placed
hind back and in placing the hands behind the*!
finger reaches out on arm catching hold of ropei
twisting it once. The right hand is then laid on lei
that back of right wrist rests on front of left arm, r,
is then tied to right wrist, ends of cord are pas
through hole of chair and tied. As soon as cabin!'
closed performer gives his right hand a half turn \rk‘
releases it, tests occur. Performer wets his handi
his tongue, puts it back in rope, gives it the necess
twist and he is tied again as tight as before. Witt
little practice it can be done very quickly.

26

j»G New Spirit Post.

!- a piece of two by four scantling is brought upon the
■tage and a hole bored through it by a member of the
'iommittee at a spot where the auger has been started
J)y performer. The scantling which is about four feet
tfigh is then nailed to the floor. Performer sits with
bis back to the scantling and his hands behind him.
two ropes are handed to the committee and they are
instructed to tie each rope around each wrist of the
berformer. All knots are sealed and strips of court
blaster are pasted around the rope, and they are drawn
through the hole in scantling and a big knot tied to
;hem at the back. Strips of court plaster are pasted
around the knot and joined to the wood so that it can-
not be moved. A spike is then procured and driven
into the scantling. Two guy ropes are then tied
around the spike and these are used to brace the scant-
ling and keep it Arm. A sheet is placed over performer
and hands appear through openings. They ring bells
and write messages to people in the audience. The
committee pull sheet away and performer is found to be
bound as at first. The court plaster strips are still
around the knot. A large (dry-goods) box is placed
over him and he does a few more wonders, all of a
sudden he rises and yells, “Take it off,” “Take it off,”
and they remove the box and find him free. The rope
has been cut from him although in his position it would
be impossible for him to do it himself.

Explanation — The scantling has had a piece taken
out of it near the top, into which the bit, or a blade of a
carpenter’s plane is inserted. The hole for the rope is

27

cut a fraction of an inch beneath the blade. The
which was taken out to make room for the plane
is fitted back on top. When the committee mam
the heavy railroad spike into the seantiing it force
plane blade down through the rope and the perfor
hands are free and all work takes place.

27 New Spirit Hand.

This is for a private sitting with one man in cal
or dark room. The victim and the medium sit opp
each other at a round table. The medium says, “I
your feet on my toes, sir, now you could feel my feel
should move?” The victim says: “He can;” hi

cannot. The medium’s foot is quietly slipped oub
very neat imitation of the toe of a shoe made of s
and is held down by the victim’s foot. While
medium is asking a few questions, a rubber hai
pulled from the trowser leg and adjusted by a fa
long piece of steel upon the right foot. The operal
requires but half a minute, and then the medium si;
“Now sir, place your hands upon mine, if I was to a:
you would know it ?” Spirit hand now appears i
disappears, it will tap a tambourine hanging i
victim’s head and will slap him in the face, etc. . Fini
the medium releases the victim’s hands, rises and wife 1
piece of rubber used for the purpose draws the hi;
back to his leg with a snap.

The seance is over and the man believes.

28

8 The Mystery of L’Hassa.

i Effect— Performer comes forward and, picking up
]/o trestles which are now on the stage, he walks to
sot lights to show that the trestles are unprepared; he
taces the trestles in center of stage about six feet apart,
ext he places a board on the trestles and introduces a
)ung lady, and after making some hypnotic passes
rer her, picks her up and places her on the board on
estles. He now removes the two trestles from under
jard and, to the astonishment of the audience, the
jard with lady on it is seen floating in space.
iy Secret — There is a curtain hanging at back of stage, it
/of a striped pattern, lines running up and down (dark
ncs on light back ground). The two trestles we will call
jo. 1, and No. 2. Pick up No. 2 first, swing it around,
[ien do the same with No. 1 ; then place them in center
(E stage, (well back), just far enough apart to allow
oard to rest on them. No. 1 trestle is unprepared, but
fo. 2 has a wire fastened to it. The end of wire is made
ito a loop and this loop goes around two nails, one on
ach end of trestle. The wire does not show as the
ack ground conceals it, as it is a striped pattern. The
nd of wire goes to top of stage. Now show the board
which is a foot and a half longer than the lady used in
he illusion), and lay it across the trestles, getting end in
sop of wire on trestle, take a long stick and wave it all
round, over and under board, but you must guard
gainst hitting wire on end of board. Now introduce
he lady and, apparently hypnotize her, then pick her
■P in your arms and lay her on the board, (feet towards
resile No. 2). Assistant now brings in a leather pillow

29

from side of stage to which is fastened second wire
ning to top of stage; the pillow is placed under the I
head, at the same time get wire under the board,
remove trestle No. 1, then trestle No. 2, and ladj
floating in space on the board and front curta
dropped.

An improvement can be made on the above by
ing the board drop to the floor when you remove
ties. In order to do this it is necessary for the lac
wear a sheet-iron band over her shoulders under 4
also a sheet-iron band around the calf of each leg, u
stockings. These iron bands are to protect the
from being cut by wires, as one in this method is pi
around lady’s shoulders, when placing pillow unde;
head, and the other wire is placed under her legs i
placing her on the board. Lady must make herself]
stiff, so that when trestles and board are remove!
will lay straight in space.

29 New Spirit Pictures.

Effect — Medium shows a wooden frame, on whit:
a piece of cloth, both sides of which are shown and'
is placed on an easel. A lamp is then placed bet'
cloth thus rendering it transparent, and impossible'
anyone to touch cloth from behind without beings'
Lights are then lowered a trifle, a little music, ail
spirit picture is slowly precipitated upon the clotf
colors, this being visible to every one present. j

■ Secret — For this experiment procure the following
ingredients from some druggist : “Sulphate of Iron,”

or blue; “Nitrate Bismuth.” for yellow; Sulphate
lopper,” for brown; make solutions separately of each,
ty dissolving a small quantity of each ingredient in
?arm water. Now make a solution of “Prussiate of
?otash,” and put it in a bottle Atomizer. Now with a
trash for each color, make a picture, landscape, portrait
Ir anything you desire, on a screen of unbleached
■auslin, when dry these are invisible. Show the screen
tnd set it on an easel in front of cabinet, now slightly
larnpen muslin and place a lamp back of it on a chair,
ower lights a trifle : your assistant or medium in cabinet
akes the atomizer, and from behind sprays all over the
lack of screen with the solution of prussiate potash,
vliicli slowly brings colors out. Effect is wierd, and,
.lthough, perhaps not artistic, it is a novelty and is
ipparently done by unseen agency. Light being placed
it back of screen, audience can see that no one approaches
creen. A little music covers sound of atomizer.
Llways see that the atomizer is screwed up air tight
•efore using it.

10 Slirine oi Eoomra Sami.

Effect — A large cage containing a small one is seen
n stage. A person is placed in small cage, when he
nstantly multiplies into three distinct beings, i. e., his
ouble, his astral being and himself.

Secret — The large cage is six foot high and three

31

and one-half foot square, standing on four small
with castors. Small cage is in centre of large cage,
is twenty inches square and same height as large i
Both cages have bars on all sides running from bo
to top. The large cage has red curtains in front
on both sides, all work on spring rollers. The 1
ground of stage is dark green, and the large cagel
curtain at back of same material ; behind this ct
are concealed gentleman and lady. When perfo
places the man in small cage, ho pulls down red
tains in front and sides of large cage, gentleman
lady now let green curtain at back fly up, move to
three bars aside, and step into cage replacing I
(This must be done quickly). Performer quicklj
red curtains fly up, opens door of cage, and out
the three persons. If you wish you can have g
curtain on back of cage painted with black stripe
represent the bars of cage, in this case you do a
with bars at back of large cage, but you cannot !
cage around after trick, as you can do by using ban

31 Mysterious Cabinet of the Mahatmas or
Wonder of Wonders.

On the stage is seen a small round cabinet res 1 -
on a high pedestal. Performer comes forward and:
vites a committee from the audience to come up on:
stage and examine the cabinet ; when they have finis!
the examination of the cabinet they take seats all arci

j

i

!

32

and the performer closes cabinet door and also takes
seat with the committee and commands the spirits to
r en the cabinet door; instantly it opens and manifesta-
ins take place. Then the performer asks the spirits to
rn the cabinet around so audience can see on all sides,
t we ll as committee ; instantly cabinet revolves around
Ithout any one going near it. Musical instruments are
'aced in cabinet and are played; a glass of water
heed in cabinet disappears ; an empty basket placed
| cabinet is filled with natural flowers ; faces, hands
id spirit forms are seen in cabinet, in fact there is no
id to the number of tests that can take place in this
ibinet and without a person going near it.
i Secret — The cabinet part is what is commonly called
iie cheese box, it is the same shape only larger. Cabi-
et is placed on a pedestal. There are two mirrors oc-
apying about a quarter of cabinet, these mirrors meet
t the center post, and sides of cabinet being reflected in
aese mirrors, audience think they see all of cabinet.

: Person who produces manifestations is seated behind
iiese two mirrors.

T he Staff . Library of Victoria
"ALMA CONJURING COLLECTION”

J2 Spirit Circle Under Test Conditions.

| On a board the size of a table eyelets are carefully
irranged at measured distances apart and in such a
nanner that there are two for each sitter whether lady
)r gentleman, one for the right hand and one for the
[eft. Beginning -at any point in the circle a piece of
jopper wire is passed around the arm of the first sitter

33

through the eyelet in the hoard, around the other
through the other eyelet and so on to th
sitter. In this manner the wire is threaded ft
and through, fastening each person to the boards
the neighbor on either side, in fact to the entire!
The company including the medium being interlae
ends of the. wire are tied together, the joint covere
with paper, then with wax and are sewed and ft
desired and any seal is set on. Now the lights it
tinguished and the usual manifestations take place
cret: The medium has on false shirt sleeves bos
has to do is to slip out his arms as soon as theligt:
extinguished, then go through the various mani
tions replace his arms in the sleeves and call fort
Now all can be examined and of course is found'
Then have some one cut the wire.

33 Great Mahatma Miracles.

This is an ordinary cloth cabinet, but there'
platform four feet square. Lady sits on chair
manifestations occur whilst her wrists are secured
ribbons, and audience see her hands extending fret
sides of cabinet. The front of cabinet is made %
piece of round or oval shaped gauze in centre, this
allow audience to see her all the time. Secret-
two front legs of cabinet are hollow. Performed
audience for bunch of keys, bells ring, and key
brought from front of house. They place newsf

34

nside, with scissors, and beautiful designs are cut out.
[here are a thousand tricks that can be done. Traps
h hollow front legs are hidden by tape running along
in floor of cabinet. At the bottom of trap there is a
rery strong rope, and when cabinet is examined assistant
below holds rope very tight, so no one can open it. Of
jourse all the “miracles” are worked from under the
stage by assistant.

j

34 One Way of Producing Great Maliatma Miracles.

The medium has a boy with her about 7 years of age
and quite small. He crouches under her skirts and
comes on with her, and is not noticed. She enters the
cabinet and passes her hands through openings in the
sides of the cabinet and her hands are held by a com-
mittee and all the usual cabinet work goes on, the boy
rings the bells, plays musical instruments, etc., etc.
The cabinet is made of some black material and the
transparent gauze is of some light color. The boy is
dressed all in black, a la Black Art.

The originator of this wonderful (?) idea should
receive a leather medal for his inventive genius ! ! !

35 One Method of Materialization and Dematerial-
ization.

The test is done by using white silk used to sift gun-
powder.

85

. One yard of this silk can be carried in an oij
thimble, and five yards may be carried in a watch
A face made of rubber, painted with luminous |
It is blown up the same as a toy balloon but retail
shape of a face. The whole affair is concealed
half inch gas pipe running into on the stage unde
flooring. Assistant works the bellows from behin
scenes. The spirit, (rubber face and silk sack)
forced up out of the gas pipe end by the air pm
into the silk sack.

30 Kellar’s New Karmos.

Effect — On the stage is seen a platform with
feet. On this stands an ordinary looking chair,
lady sits down on the chair facing the audience, at
securely blindfolded by the performer, who then m
some magnetic passes over her. He then passes aa
prepared pack of cards out for examination and!
them shuffled. Going back to the stage}' he stands:
hind a small table, and, holding the cards so that ti
face is turned toward the audience, he draws off t
card after the other and throws it on the table, the!;
naming each card as soon as it becomes visible. (
the next test he borrows a banknote and with it ice
to a blackboard on the stage ; the lady dictates tor
the value and the number of the banknote, he wrist
it down on the blackboard. He also borrows a cti
and the lady states at what bank it is payable,']
made out the check, who is its owner, what the amt.

36

etc. A spectator next chooses a word out of an un-
bridged dictionary and asks the lady what the word is
fad she instantly tells him and describes the word. An-
ther spectator writes a couple of numbers on the black-
oard, brought down in the audience by the performer;
he lady instantly squares and even cubes the number,
''or the final test some one writes four rows of figures
h the blackboard, each row containing four figures,
“lie lady audibly adds the numbers and dictates the re-
ult to the performer, who then carries the blackboard
way to the front of the stage and she now adds the
ows in any manner desired, that is, from right to left,
tp and down, etc. She also mentions any number
truck out or touched by the performer.

! The secret of this seemingly remarkable performance
s a very simple one. Everything that the performer
loes is seen by an assistant behind the scenes, who
ells the lady what to say by means of an invisible
ipeaking tube, which consists of a rubber hose, passing
:rom behind the wings, underneath the floor up to the
platform, the rear leg of which is hollow. There is a
small opening here on which the rear leg of the chair,
ivhicli is also hollow, rests. The chair used is a cane
seat one, of the kind known as “Vienna Bent Wood”
lhairs. The rear leg of chair is hollow, also part of the
seat of chair, also spindle in back of chair where con-
nection is made. The lady who enters from the rear
loes not show the back of her dress, on which is fast-
3ned another tube, leading up to her ear and hidden by
tier hair, which hangs down loosely. Under cover of

37

making passes over her the performer connects the},
on her back with the crosspiece in back of chair, :|
completing the connection. Anything spoken bj
assistant into his end of the tube, which has a mo;
piece there, is heard distinctly by the lady. The rtf
easy. The assistant sees the faces of the playing t;
and tells them to the lady; who calls them off. Thei
former holds the banknote in such a manner against
blackboard, which is turned slightly sideways, that!
assistant can read its number and value by means#
spy glass, same with the check. In the dictionary i
the performer requests the gentleman to ask the (
what the 10th word on the 35tli page is. The assist,
who has a duplicate dictionary, hears this, looks ,
word up and tells it to the lady. The squaring!]
cubing of two figures is done by means of assistant;
ferring to a table of numbers, already squared and era
before the trick, the table including all numbers ft
1 to 100. The adding of four rows of figures vE.
easily understood now. Meanwhile the assistant co;i
the four rows and the performer now moves the Hi'
board to the front of the stage, thus bringing it out ot i
assistant’s range of vision ; but as the assistants
copied the figures, he can tell the lady what the ren
of adding the first row comes to and any other quest ;
pertaining to the figures. The trick of the lady tell
any figure touched by the performer is one of prearrai
ment, the lady and performer having learnt by keai
number of figures, which are touched and called oil
the lady in their regular order. The performer f

38

akes some more passes over the lady, under cover of
lieh he disconnects the speaking tube and then re-
oves the blindfold from her eyes. She hows and
aves the stage hut does not show her back.

7 Silent Thought Transference.

A lady (or gentleman) while blindfolded tells the suit
nd value of any number of selected cards, solves arith-
letical problems, gives numbers of borrowed bank notes,
ells time by any watch, describes borrowed coins, gives
•roper names as selected, and many other tests. All
his is done in absolute silence and while the lady is un-
able to see, and can be entirely surrounded by any com-
nittee.

In this feat of Silent Transmission of Thought, there
s used what is known as a Silent Code.

The principles and details of this Code are easily ac-
quired and are so fully described in the following that
they may be readily understood. There being no elab-
orate code to learn it will be seen that this method does
not require as much application and practice as sys-
tems in which certain codes and signals have to be mem-
orized.

By paeans of this code all the usual effects generally
exhibited at Thought Reading Seances, can be repro-
duced. The medium is completely blindfolded and if

3 !)

necessary can be surrounded by a committee from,
audience, to see that the medium is not connected;
the performer in any way and that he does not mate
queries of the medium or signal to her. Performeq
not change his position at all. I

It consists in both medium and performer coat
mentally and together. It is a known fact, thaij
beats for “common time” are always the same in nr,
therefore with little practice it is easy for two perj
starting on a given signal to count at the same time;
rate, and when another signal is given to stop, an'
course they will both have arrived at the same nun
This then is the actual method employed in thisi
and from it you will see that any number from 0 to9>
be transmitted by the performer to the medium ; ii
of course is all that is required. It is best to exp
ment and find out what rate of counting be3t suits
two persons employing this code, but the following!
gestions are offered : It may perhaps be best to ci

mence counting at a slow rate ; then gradually increi
until you find advisable to go no quicker, and then
here to one rate and always keep it.

Say you have in the room when first practicin
loud ticking clock, with a fairly slow beat, on the g
beat or signal you both start counting at the same
as the clock, of course the clock must be removed t>
the rate has been well learned ; or count at the ral
“common time,” viz: 1 and 2 and 3 and 4 and so
or practice with a “Metronome, ” such as is used dn
piano practice for the purpose of setting time and i
course, made adjustable. A very good rate to fii

40

idopt is about 70 to 75 per minute. Whatever rate is
ound to suit best must be adhered to, you will find at
he rate mentioned any number up to 9 can be transmit-
led with absolute certainty, after an hour or so of prac-
tice.

Now that the principle has been explained, the next
items are the signals to be transmitted to give the me-
dium the cue when to start, and when to stop, counting
mentally.

Coin test — Say the performer has borrowed a coin
the date of which is 1862, the first figure of the coin 1
and 8 are generally understood as most coins in use are
18 something or other, if of date 18 in the hundreds,
then the performer must advise the medium of this by
means of a wording of reply to the person who lent the
coin, which can easily be arranged to suit one’s fancy.
The 6 and 2 have therefore to be transmitted. The
performer stands away from medium or amongst audi-
ence. The medium being on the stage securely blind-
folded, performer takes his position with chalk in hand
in front of blackboard", holding coin in other hand. He
does not speak a word but simply looks at coin, after a
pause, the medium calls out: “The first figure I pic-

ture is a one,” or words to that effect, now immediately
the lady stops speaking they both commence to count
mentally at the rate agreed upon by practice. In this
case the number to be transmitted is 6 ; as the last
word of sentence is spoken they commence mentally
1-2-3-4-5-6 ; during this short period the performer
glances down at the coin as if to verify what the lady
has called out, as soon as they reach the figure “6” the

41

signal “stop” has to be transmitted. This is dot
the performer putting down on the blackboard sh
the figure called out by the lady, viz.: “One” (I
will be seen by this method that the signal is quite
to transmit and it is perfectly natural to put dowi
figure on the board quickly and sharply. The
figure of the coin is now known to the medium, the
figure “2” is transmitted in the same manners
previous figure, the lady says the second figure I a
“8,” as soon as she ceases speaking they commenc
counting again 1-2, on the arrival at the figure “2’
performer puts down the “8,” previously called
sharply on the hoard, which is the signal for “stop,
lady now knows the full date of the coin. Then
of the coin must be indicated to the medium previc
by the wording of the reply to the owner of the
after it has been handed to the performer, which
easily be arranged to fancy, the value of the coinc
equivalent number in the same way as the previous
ure and between the “6” and “2,” that is, after the
has called out the “6” they commence to count foi
value, when an “0” occurs in the date, no pause is n
the performer putting down the figure on the boari
the “stop” signal immediately the lady stops spea!
this if followed carefully will he found quite easy
natural in practice.

Any other system that one may adopt for givinj
starting and stopping signal can of course be ap|
but the method here proposed will be found to ai
the purpose, and cannot be detected.

The performer states to the audience that the

42

K.11 now tell the value and number of a borrowed bank-
i)te. He also states that the lady does not see the
limbers on the note in the right order and that he will
■ erefore make divisions on the black-board for these
Ambers, supposing she sees a “3” first she would cry
ht “I see a 3” and it belongs in the second place and
) on, till the full number has been called off.
s Performer also states that she will first call off the
falue of the note. Performer now borrows a banknote
^marking that he usually returns it. We will suppose
e is handed a $5 bill numbered 00481, he takes it
ack to the stage and on the way there he looks at its
'alue, when the lady hears that he has returned she
saises her hand to her head as if in thought, at the
itaoment her hand starts to move, both count 1-2-5-10-
(0-50-100 and so on, at the third beat, viz. : “5” per-
Ormer gives a sigh, the lady then waits a moment and
lays it is a $5 bill, while she did this performer has
ooked at the third figure of the note, as it is understood
)efcween them that she should first call out the third
igure of the note, which in our case is “4.”

It should have been mentioned before that in the
oanknote test the following order must be learned by
both performers previous to performance: 1-4-5-3-2 so
that now the lady has got to the $5 as mentioned above,
begin to count 1-4 in second time, on the second beat,
viz. : “4” performer will stop lady from counting any
further by slowly writing down $5 lady knows now that
the next number is “4” she however waits a moment
and then exclaims, “I see a 4 and it occupies the
third place,” as soon as the word “place” is said^both

48

again begin to count, now the figure in the first pt,
to be called off next according to the pre-arrangedt
this order is supposed to be 3d, 1st, 2d, 1th, 5ft'
and so on, of course any-other order will do as fc
both know it beforehand. Now “0” is the same as
for the test, for when a number is not in the for
1-4-5-3-2 you must take the number to which w!
is added to it makes the number you desire, it
stance, for 7 take 2 plus 5 equal 7, for 6 take 1 p!
equal 6, 5' plus 5 equal 10.

So the third beat will be the one on which tie
former will write down the “4” just called out. ft
mediately the lady has said “place” both count i
and on the “5” the performer will write down r;
quickly in the third place a “4” immediately the 11
put down the lady knows that the next number aci
ing to the above arrangement which occupies the
place must be an “0,” but she allows a second oi
to elapse before calling it out, by this giving tin
look at note for next figure, by putting down a pro
number rapidly the lady knows that she has to at
to the number just communicated to her, which o
pies the second place, and so that he is ready to t
counting immediately she has finished her sent
then she calls out : “I see an ‘0’ and it occupies

first place,” immediately she says, “place” both «
for the “0” in second place, 1-4-5 on the 5 perloi
rather quickly writes down “0” in the first place, i
a moment or so the lady says, “I see another 'O’ an
occupies the second place,” immediately on the i
“place” both count for the “8” 1-4-5-3, on the heat

44

3” the performer rather quickly, by this com-
tunicating to her that she has to add 5 to tho trans-
ited number “3,” writes dowr an “0” in the second
.ace, then after a second or so the lady exclaims, “the
jxt figure I see is an ‘8’ and it occupies the fourth
.ace, at the word “place” the performer deliberately
rites down an “8” in the fourth place and the lady
tils out, “I see a 1 and it occupies the fifth place,” she
ould go on counting to herself as she would not
aow whether there were more figures or not, but the
Brformer would next refer to the number being all
ght and she would know it was all over. $5.00
00481.”

i For black-board work: The performer asks any
tember of the audience to put down upon the board 4
'i 5 rows of figures, usually composed of about 5 figures
{ each row, while this is being done, the performer
iforms the audience that he shall transmit the total of
ie columns of the figures now being put down to the
iedium. The sum having been put down on the board
ky something like this : 7234 the performer adds up

rst row quickly so as to 8679 arrive at first total of
nit column, this, you 3201 will see amounts to 22
:e has, however, only to 3795- transmit the 2 as
mount to be carried is 6423 not necessary to be
nown to the medium, he therefore now takes the chalk
a his hand and says audibly to the person who has put
iown the figures, “thank you,” the lady who has been
istening for the signal as soon as the performer ceases
peaking they commence the mental counting to the
ransmission of the 2, viz., 1-2 immediately on the

45

repetition of the word “2” the performer dram a*
line under the column of figures on the board, tfc
tap of the chalk on the board at the commence!:
the action of drawing the line, indicating to the];
cease counting and call out the figure she had mei]
to herself when she heard the tap on the board,
she does, saying put down under the unit col®;
7234* figure “2,” the performer glances;
8679 column as if to verify what the lady has:
3201 out, but in reality to allow time to tc
3795 the total of the second column, which;
6423 added up during the time the lady was:

ing, not forgetting to add on “2” cam;

29,332 the first column, in this case it amount:
the 3 has therefore to be transmitted, as soon,
lady ceases speaking, viz., on the word two, as ;
they commence counting for the second column!
case 3, they count 1-2-3, the performer then pul:
sharply on the board “2” first called out by tfc
which is the cue to stop and then the lady kuoi :
the second figure is “3” and calls out according
proceed in this way until all the columns ha6
added. This test is usually concluded by the per
pointing in quick succession to any figure on the*
which the lady calls out. This is simply am 1
and is a pre-arranged order of certain numbers 1
the performer picks out as it were hap-kazaf
really in the order arranged beforehand. W
mean by pre-arranged order is to commit to met'
set of figures; at the conclusion of the foregoing lr
performer points to 4 then 8 then 2 then to 1 (

46

m, medium calling out figures as soon as performer
srosses it out with chalk.

Card Test — Have your cauls memorized by their
lumbers: Ace 2-3-4-5-0-7-8-9-10, Jack 11, Queen 12,

ling 13, ask some one to select 7 or 8 cards. To
llustrate the method, we will suppose he selects two
>f hearts, three of diamonds, five of hearts, seven of
dubs, eight of spades, ten of hearts, ten of clubs, Queen
)f Diamonds, King of Diamonds, (nine cards in all), let
lim lay them in a row on edge of table (the edge
urthest from you) while he does this take a look at »
ihem and notice which is the lowest card, convey the
lenomination (or value) of the card according to the
following rule : Value is given by laying clown the card

.ast named. Count from the time last words leave
ady’s lips until the time the card is laid on the table,

;he number counted to he added to the value of the card
'ast named, and if the sum is over 13 deduct 13
Torn it.

Suit is given by the manner of picking up the next
sard. Clubs, pick card up sharply and quickly giving
t a kind of turn on table which will make an audible
‘scratch.” Diamonds, draw the card slowly over the
;able towards yourself before picking it up. Hearts,
nake a thump when going to pick up the card. Spades,
nake the thump as if hearts but follow it by the scratch
is in clubs. The value of the first card cannot of course
)e given by laying down the last card named, nor can
ve count from the time the last word leaves the lady’s
ips, as she has not yet said anything. You say
‘thanks” to the person who selects the cards and then

47

you both start counting ; at the figure to be ini
make- a “sigh,” thus in our example above theli
card is two of hearts, say “thanks” and count 1-2 i
heave a “sigh” or better still “breath hard,” the t
you indicated by picking up the card with a thump,
knows the first card, she names it and as soon a.
last word leaves her lips count again, now the neil
in value is 3 of diamonds, but we will skip this a:
to the 5 of hearts, you do not count 5 but only!
last card named being 2 of hearts, 2 plus 3=5'
heart is again indicated by a thump, skip the 7 of i
and go to the 8 of spades, the lady says 5 of heart
you both count at 3 lay the card down with an at
rap lady adds 3 to 5 and knows the next card is at
the spade is given hy the thump and scratch, thei
can give the 10 of hearts by adding 2, then the Qut
Diamonds by adding 2, the King by adding 1. No rl
have skipped the 3 of diamonds, 7 of clubs and!
clubs, this was done so that the audience maynoti
that the cards are given from low to high, you cot
from the King (King is 13 plus 3 but according t«
you deduct 13 leaving only the 3) for example if tls
card had been a Jack and you wish to give a “2/.-
count 4 (Jack plus 1=15 minus 13=2, after givii
“2, ” you give the 7 of clubs by counting, of corns
ways indicating the suit by picking up the card; i
“thump,” “scratches” and “draws” are really m
moves as motions should not be made un-natflE
making them too pronounced, the practiced esr-
easily tell them apart.

Chess Knights Tour. Patter — “We will now i

luce what is known as the chess knights tour; for the
rienefit of those who are not chess players let me
jay that the knight is the little figure with the
Worse’s head and it has the most peculiar moves of any
igure used in any game of that class, it can go aiound
die corner. The knight moves by starting from the field
jpon which he stands and going two fields or squares
[Straight in any direction and then turning the corner and
going one more field in some other direction. To illus-
trate (go to your black-board and point it out) if stand-
ing on say field 20 he could get to 35, (show it) to 37,
(show it) to 30, to 14, to 5, to 3, to 10, or to 26, a choice
of eight fields, providing he stood on a centre field. Now
on account of this almost incalculable move it has puz-
zled mathematicians for nearly 2,000 years (chess is an
old game) to know if that knight could be started here
paint to it) on field No. 1, and could be successfully led
from field to field and yet never resting twice on the
same field. After centuries of calculations this has been
solved by a Frenchman and we will solve it again tonight
for you, but we will make it just 64 times as difficult by
not commencing on No. 1, as scientists always do, but
on any field you may designate. Common sense will
tell you that the knight’s trip must differ in each and
every case according to his starting point and we propose
to make it a great deal more difficult by having the moves
calculated out by our medium, who you are well aware
is totally blind-folded.” A number being called out by
one of the audience you mark it out, the lady calls off the
numbers and you connect the lines and mark out the -
field; at the conclusion your black-board will show lines

49

running : over it, stopping once on each square, but:
touching any square twice.

Explanation. The secret lies in this, that you r
to your starting point, if you learn by heart the folios
(1) 18-33-50-60-54-64-47-32-15t5-20-3-9-26-41-5|'
62-56-39 -24-7-22-3 7-43-28-13-30-45-35-29-46-36-2;:
44-27-42-57-51-61-55-40-23-8-14-4-10-25-19-34-48.;
53-63-48-3 1-16-6-12-2-17-1 1-(1 .)

You see it begins and ends with or at One, this r
tion is all you need learn, suppose your audience r
12 as a starting point, j'ou say: 12-2-17-11-1-18-33-5:
and soon finishing with 16-6.

38 New Silent Second Sight and Bank Note Tes
The trick is performed as follows: The lad;

blindfolded and seated in a chair with her back to
audience. She holds in her hand a slate or writes c
blackboard, just as you please. You then in the mi:
of the audience say that you will convey to hen
date or number of words, etc., without sign or sigs
The lady is breathing gently and regularly, but so t
you can see her and notice the heaving of her bre
or shoulders. You then start her counting by dram
deeper breath than usual yourself. You watch!
breathing and she counts her breaths and so do ]
and you stop her when she has breathed up to the nc
ber you want by again giving another deep breath. 1
us suppose we want the number 74. You begin;
lady is breathing regularly and you give a deep bit;
to start her so that as you ask for perfect silence
can hear you, and as soon as she has heard your bn

50

she begins to count her own from the very next breath
and when she has breathed up to the seventh breath
you again give another deep breath, (just long enough
for her to hear yon) which tells her that the number is
7, and she goes on counting from that seventh breath
and you again stop her on the fourth breath, when she
at once writes down on the slate or blackboard “74.”
This is the principle on which the trick is worked. You
will then understand that you can convey any fig-
ure, card or letter by the code. You do this in a
drawing room or even in a hall if you can get your
[ audience to be silent. But where she cannot hear you
i from any long distance, you have someone behind the
screen or curtain to start her by making some little
noise with the mouth, or anything else your fancy may
| suggest, but this person need not have the least idea of
: how the trick is done and any child would do for that.
All the child has to do is to make a little hum or noise
each time he or she sees the operator look at the article
which he (performer) holds in his hand. This noise is
to start and stop the lady when necessary and takes the
place of the deep breath. The operator must remain
perfectly still and not make any sign or sound but
merely look at the article he holds in his hand each
time he wants the little child to make the noise, as the
child or whoever is behind looks through a small hole
and can see the operator and is nea.x the lady. Thus,
say you want to convey the Queen of Hearts. You
look at the card or paper on which the name is written
and immediately the child sees you look, makes the
noise agreed upon. You then count the breaths up to

51

twelve, when you look at the card again and imt
diately the child sees you look at it again, makes
sound. You then count the breaths up to three:
then look at the card once more, which stops the li
She then knows that the card is to be written de
The Queen of Hearts is conveyed by fifteen brea;
twelve for Queen and three for suit. Of course;
see that you can convey anything if you only arras;
code with a number for each article. You must p:
tice it when alone for a time with your subject;
assistant and you will soon learn it.

Dates of coins you only need convey as a rule i
two last figures, as nearly all coins are of this cent.
Numbers of bank notes, tickets or watches. Anjc
from a pack, count the Ace as one and when you gel:
Jack count it as eleven, Queen twelve and King thirli
The suit will follow next by remembering that the C
is 1, Diamond 2, Heart 3 and Spade 4. Words bj:
following table :

1234567 8. I

1— A B C D E F G H !

2— J K L M N 0 P Q i

3— S T U Y W X Y Z

Thus the name “Blitz,” is conveyed by :

Column Letter,

1 2

2 3

1 9

3 2

3 8

a few minutes.

Meaning first column and second
ter, second column and third let
first column and ninth letter,
so on.

This is learned without difficult;

52

39 Second Siglit Through Brick Walls.

] This is usually used for a hotel or press seance, i. e.,
for advertising purposes, and ia claimed to be very
striking.

The performer enters into conversation with some
people in the hotel or office, wherever he happens to
be, and makes the suggestion that his assistant’s
powers can he tested at a distance. One 01 more caids
are generally selected, some initials may be chosen, a
: number in dice is thrown and a series of figures may
be written down, dates selected and time of day noted.
One or two gentlemen are chosen as messengers. They
take any sheet of paper and envelope, with pen and ink
and proceed to the assistant’s room, wherever that may
be, and hand her (it is generally a lady) the paper and
pen, without saying a word, and in a few minutes she
hands them a correct written answer to all their ques-
tions with necessary proper descriptions.

The manner of working this is as follows :

Of course you arrange with your lady beforehand
just what you ai - e going to do. In this case let us sup-
pose one card is drawn, one dice is thrown, one number
is thought of, one set of initials is written down, and the
time of a watch or clock noted. Now to the lining of the
side of your coat pocket nearest the hand with which you
write sew two short pieces of elastic cord in such a man-
ner that they will grip neatly a book of cigarette paper,
such as you can buy in any cigar store, (see figure 1 .)
The book cover is doubled back so as to leave one of
the sheets of paper on top of it. In the same pocket
have a very short pencil not too sharply pointed so as

53

not to tear the tissue paper while writing on it.
your vest pocket have a common fountain pen. U
prepared you are ready to perform the experime
Under pretense that you are~ not going to handle j
articles you keep your hand in your pocket most of i
time, and this gives you a chance to jot down the’
rious abbreviations for the answer. Of course what tt
abbreviations mean yourself and lady must know,
this case the following are selected : card selected, E
of Hearts. Dice, a six spot. Number thought of, 1
Initials thought of, E. H. Time of watch, 9 :31.

You jot these down as soon as selected and
course the difficulty of writing this way will not m
the bit of paper (figure 2) a good specimen of ci
raphy, but still it will be legible enough for y
assistant to know what each abreviation means. I
knows that the first is a card, the second a dice, and
on. While the messengers are being selected, tear!
sheet off quietly and gently in your pocket and mat
little ball of it, palm it near the tips of the middle s
index fingers, which is very easy to do. Take out y
fountain pen, and as you take off the cover part of
case which protects the pen and which is always put
the other end of the holder while writing, you slip i
it the little ball. This can be done very easily at
very little practice. Do this while the attention of
spectators is taken up with the messengers, (select
them). The trick now needs no further explanati
When the gentlemen knock at the lady’s door, she i
course, prepared to receive them. She takes the pa
and asks them to kindly wait outside as the presence

54

strangers is irritating to lier. She takes the hall from
its resting place with a hair pin, smooths it out and
translates the abreviations into plain English and then
writes the answer on the letter head which the com-
mittee has given her. When this is done she opens the
door and the gentlemen take back the answer, totally
unconscious that they themselves carried the informa-
tion as to what the answer should be. Dates on coins,
birthdays, etc., may also be used. If you are a second
sight artist you may use your numbers to indicate
chosen articles.

FIr. i.

40 Psychonotism, or Silent Thought TransmissioiJ

As introduced by Prof. Verbeck and Mdlle. Mat®
in Paris and London and Guibal and Marie Greville
England and America.

Effect — The performer, or better say, the profesi;
as there are two performers actually, advances, audit
the seriousness of a hypnotist, announces the marvel
intuitive powers of his subject, Miss Venus. (?) “I
shall be hypnotized by me, and when launched into B
hypnotic sleep, can and will perform any rational sj
that the spectators desire, despite the fact that I
professor) will not speak one word during the perforj
ance. She will while in this trance walk among j!
and comply with your requests. This the tranee-il
Venus is, when I have her under control and in their
notic trance, I will move about among you, and j;
can convey to me by whisper what you would wish I
medium to do, and you will find she will not fail
aught of your desires.” Miss Venus is now introduce
by the Professor, she is pale and has two lovely Mat-
eyes. ( ?) Her hair for effect is loose on her shoulder;
she is robed in white, a Galatean costume. She bod
and smiles consumptively, and seats herself on cbai
facing spectators. The professor now by means of 'd
of the pantomimic gestures, pretends to hypnotize kj
and she is or becomes hypnotized. (?) j

Now performer goes among the audience,
here and there what the spectators would wish the
marvel to do, and having gone through say 12 to 21
solemnly demands the strictest silence, and with serioi
mien advances toward medium without going on stags

56

and motions or waves his right hand in a downward
movement in front of her. She slowly rises and goes
through each performance desired, goes back to chair,
slowly seats herself, and suffers (?) herself to be de-
kypnotized, then the performer recapitulates for the
benefit of all what each spectator desired and how Miss
Venus was successful in each and every crucial test.

Explanation: In performing this seance the per-

former must learn a code of signs and things, these
things the professor forces into the minds of the people.

Code to be learned for forcing :

1. Pull a gentleman’s hair.

2. Turn up his trousers.

3. Tie a number of knots in his handkerchief.

4. Take watch out of gentleman’s pocket and place
it in another.

5. Open a lady’s bag, take out her purse or any-
thing she may desire.

6. From out of a number of coins placed in a hat,
.pick out the special one which has been selected.

7. Write any number selected on a card.

8. Take a gentleman’s cane or umbrella and put it
in the hands of another gentleman.

9. Take glasses off a person and place on own nose.

10. Take off lady’s (?) or gentleman’s gloves.

11. Write down time by gentleman’s watch.

12. Write autograph on programme gentleman
holds.

13. Takes handkerchief out of person’s pocket and
ties it on neck or arm.

14. Ties a knot in watch chain, and so on.

5 ?

Tliis can be varied indefinitely as the reader i
have already observed.

How to force these requests. The professor ;
tends to hypnotize the subject, this as was said, i
sham, then going among the audience, he goes to t
ber one, or first person, and asks this one wha:
would like her to do, he says, for instance : “01
her tell me what I have in my pocket,” or he would;
ge-st some similar test. Oh, says the professor, you!
get that she is hypnotized and we cannot have:
speak, get her to do so and so, or this, or that, or so!
so — and so the professor shoots out a volley of t!
gestions from his learned code rapidly, and s
natural result, the person selects one of these suggesti:

Going to the next he -forces differently, and si
what shall she do for you? Turn up your trous
Pull your hair? Tie a knot in your handkerchief?!
so on. The professor here springs a volley of quest
before gentleman has time to make any suggestions
mentioned by the professor, then seeing a lady sit:
near with a bag, he says : Madam, have you a pt

in it ? Yes. Shall the lady remove it or anything!
from it? and so on. Again you see a gentleman t
glasses on, and suggest that the medium move thesj
tacles, etc. If, however, gentleman does not wish
done, professor suggests some of the other tests,!
etc. Remember medium’s eyes are closed all the ti
and in going through audience professor asks each!
vidual his or her request in whispers only, and
generally has each person whom he asks a coupl
yards apart.

58

Again it is better when forcing questions to force
only three at a time, and force them in rotation. To
do this we should say he suggests three questions, but
emphasizes or forces one of the three. Now, the pro-
fessor has to keep his wits about him, for having gone
to a sufficient number of audience, he must keep men-
tal track of the gentleman who selected No. 1 of code,
he who selected No. 2 and so on. When he goes to
'stage to wave down Miss Venus, all she has to do is
!to follow the professor in front or at side, and the
'first he stops at (by signal) she merely does first on
! code, the second he stops at, she does second on code
' and so on right through. The professor must remem-
iber where each chooser is seated, for example, suppose
1 these lines are rows of people, and each word is
numbered and represents those whom the medium has
to go to.

The professor directs his medium to the person by
the movements of his hands, he first shows her the
rows in which the persons are seated, all the time
waving his hands as if making mesmeric passes, and
as medium is walking along the people very slowly, as
soon as she reaches No. 1 performer drops left hand
at his side, and the medium stops and pulls gentleman’s
hair.

Professor then directs her to No. 2 and she is then
stopped again, and she turns up gentleman’s trousers,
and when she gets to No. 3 performer tells her how
many knots to tie on handkerchief, by the number of
downward waves of left hand, at the same time mak-
ing passes with the right. To select any special coin

59

out of a' hat or other receptacle, Miss Venus takes ‘
in the hat in her hand, the right, and lets them drop]
by one into the left hand, when she reaches the pro|!
article, performer turns to audience, as if silencing the)
and says “hist.” j

. Venus however continues pouring them into left haj
and when all are in, she picks out the one she know;
correct.

These methods may be readily varied to suit |
performer, who with a little skill and thought can w
it up to most any extent.

Suppose something special and not in code is mt
tioned to be done, you have to whisper it to medic
and to effect this -whisper, when in the middle of t
test, you look around the audience, turning your bi
to medium, and you look as if you were looking l!
some person who selected something, and medium wail
back to stage, you turn around, surprised to see ti
medium away from you, and follow her up, wari|
arms and hands energetically, and walk slowly arom !
her, this near the stage, and rapidly whisper what jij
want to, at same time waving her back to audience, 1
it were, i. e. you leading her, you have to walk dor!
aisle backwards and face to medium. This of code!
can all be done while you remain on the stage with tt|
medium, together with a committee seated about ft!
stage, scattering your work among them, so as to avo:
crowding about narrow aisles.

The medium’s eyes appear to be closed all the tit
but m fact are open sufficiently for her to see all mor
ments of the professor. After becoming expert it m

60 I

lot be necessary to use the forcing code often, because
ill requests can be whispered to medium by professor
without the audience becoming aware of it. He can do
ibis when he escorts her from the stage to the audience,
ir as he occasionally passes her in the aisles, and the
waving of his hands and arms in his different “passes”
will partly tell her what she is expected to do.

This so-called Hypnotic demonstration has proven
to be one of the most puzzling effects that have been
introduced for many years.

41 The Spirit Tliinlreplione, or Marvelous Vision.

In effect as follows : Performer walks into a news-
paper office and asks someone to think of a card in an
imaginary pack of cards, after he has done so to write
the name of the card in his note book or on a slip of
paper, and keep same in his pocket, then party writes a
note asking name of card, and encloses note in an en-
velope which he seals and addresses to the performer’s
assistant. He then calls a messenger to deliver the note
to the assistant at the hotel and return with answer ; he
does so and the answer is found to be correct. The ex-
planation is as follows : —

There are four suits in a deck of cards, viz. Hearts,
Clubs, Spades and Diamonds. Each of these commences
with a different letter. Performer watches party as he
starts to write name of card. Suppose for instance it
is the five of spades. As soon as he sees the number 5
written down he watches to see what suit it will be. This
he knows as soon as he sees the first letter put down,

61

which in this case is “S.” He then turns his bad
order to avoid watching the person finish writing {
name. The information as to what the card is, is «
veyed to the assistant by two finger-nail marks onf
envelope, one on the back and one on the front. 1 -
front of the envelope is divided into 12 imaginary spat
(see figure 1). At one end of the back are the places!
the marks to represent the suit, hearts, diamonds, a:
spades (figure 2). If the back has no mark it is aeli
The front of the envelope represents the number of spt
on the card. One for ace, etc., eleven indicates {
Queen, twelve the King. If the card is a Jack tk
will be no mark on the front. In this case the carl
the five of spades. In picking up the envelope the pi
former markes it front and back as shown in figun
and 4. Or the envelope may be marked after the m
is enclosed in it. This may be done under pretext
examining it to see if the address is correct.

If required to repeat the test the performer may vi
the modus operandi by addressing the envelope him®
and doing away with the fingernail marks. This is dot
as follows: Take the first 13 letters of the alphabet;
the initials of the person addressed and also let the:'
represent the 13 cards in suit.

ABODE PGHIJKL:
1 2 3 4 5 6 7 8, 9 10 11 12 1

Now if you wish to communicate the card “10
hearts,” the address on the envelope would be as ft
lows :

Mr. John Smith,

Auditorium Hotel.

62

The initial “J” indicates 10 and the first letter of
the place (Auditorium Hotel) coming under the first cap-
ital letter of the name indicates “hearts.”

The suits of the cards are indicated by the capital
letters in the name. The first capital letter means hearts,
the second one spades, and the third one means dia-
monds. If no capital letter is indicated the card is a
c lab. The particular capital letter you wish indicated
•has the first letter of the place addressed placed imme-
diately under it.

Fig. i.

Fig. 2.

4“ Tacliypsycliograpliy, or Dong Distance Second
Sight.

A plain, ordinary kitchen table is brought upon the
stage, and a committee of ten is called for from among the
audience. The manager then says to the committee :

03

“Gentlemen, five of you please take the mind real
outside of the liall and keep him in charge for half;
hour.” Five of the committee take the mind real
outside while the other five watch the man on the sta;
A watch is borrowed from the man in the audience. 1
manager then asks one of the committee at what ft
he should stop it. The watch is stopped at 3 minnij
past 12. The manager sees this and places it carelese
on the table. A cigar case is borrowed and the mat
ger asks for a number of cigars. The case is filled
partly filled with say 6 cigars or as many as the co:
mittee decides on. The manager then carelessly k
it upon the table. He then asks one of the commit
to write the name of some friend, the first name or
upon a double slate, which is then handed to someo:
in the audience. The pencil is then laid on t
table. He now requests the committee of five to tad
him outside and to keep him until after the mind real
has finished. The committee does so and the mil
reader returns. He at once sees the watch and i
committee asks him what time it is by the watch. I
answer is 12.03, the watch is opened and the answer
found to be correct. He then tells that the number
cigars is six in the case and that the name on the sli
is Harry and the number in the sealed envelope is S
All prove correct.

Explanation — The table which must be a round o:
is divided mentally into 24 parts, 6 in a row and 4 dee
There are no lines upon it, but the mind reader v
manager have made a mental division of it with ap
in the centre to guide them, if they are a little clum?

04

they can readily see any of the 24 divisions mentally,
each square represents a name, 24 common first names.
There is also an imaginary face of a watch upon the
table, the XII being towards the audience and the VI
being opposite. The watch is laid with the ring toward
the audience which means 12 o’clock, it is laid in the
third space marked off mentally, which means 3 min-
utes after 12, if it had been stopped at 12 minutes after
3 it would be laid on the right hand of the table. The
ring would be pointed to the right, which would mean
that the hour hand was set at 3, the 12th space indi-
cates the minute hand. In case the watch was stopped
52 minutes after 12, it would he laid face downward,
which indicates that the time is a half hour past the
hour at which it is (laid) stopped, plus the spaces in
which it is laid. The slate pencil is laid in the space
marked “Harry, ’’and the mind reader knows that Harry
was the name written on the slate. The cigar case is
lying in the 6th space and means that there are 6 cigars
in it. The lead pencil is laid in the 9tli space pointing
toward the 4th place and indicates that the number is 94.
If it was 944 an envelope thrown carelessly on the table
would mean a repeater for the last number. Any num-
ber of tests may be introduced on the above plan. The
committee are satisfied that there has been no collusion
and their report is to that effect.

Hypnoguotism.

The feat called Hypnognotism is in effect as follows :
Performer introduces lady and after hypnotizing her,

' 05

blindfolds her, by placing a hood or bag of impenetr!
material over her head, which fastens by tightening
cord under her chin or around her neck. This baj
hood is examined beforehand, placed over flame of cl
die, to prove that it will not even show light througt;
and is placed over spectator’s head, who will vouch
it being impenetrable. ;

On the stage is a large easel, with large sheet:;
glass in an upright position. The glass is remow
and can be replaced by another sheet when necesss
on a small table are crayons of various colors, pin!
so the performer knows the place of each color, aaj
stick of soap with which to draw on the glass.
Performer announces that for the first test, he slip

j

like to have some spectator whisper in his ear the m
of any object, or design which he desires drawn by t
dium, say an animal, flower, cross, anchor, face, j
When request is whispered into performer’s ear, for;
ample; “draw an elephant,” the performer faces!
medium who rises from chair, takes up crayon and dr'
the elephant. Performer does not speak one word,!
make any gestures, or even walk. ;

For second test performer says : “we will now iij
in the same manner, a composite, or combination g
ture, either a landscape, marine view, fruit picture,!
anything else. Various spectators will please sug;
the composite part of the picture.” i

He steps up to someone and asks : “shall it be a la!
scape, marine or fruit ?” Say a landscape is choa;
He then asks another spectator : “shall we have a cl
or clouded sky or a sunset ?” Next he asks : “s

66 '

have a mountain in the background,” etc., until he has
collected ten or twelve requests for the composite pic-
ture, like this for instance : landscape with lake, water-
fall in background, 2 large trees in front, shrubbery, a
road-way, fence, 3 ships on lake, birds in air, sunset,
sky, etc., of course performer must take care that no
one suggests ships when there is no Avater, or lighthouse
in a country landscape.

The next test is a coin test.

Performer asks for a coin of any Avalue and says the
medium will draw it in yelloAV if gold, in white if silver,
blue if nickle, red if copper, so as to show its value and
•date, then medium draws picture. It appears reversed
on the glass.

The next test : A visiting card is asked for and medium
steps over to glass, and standing behind it AA’rites the
name backAvards, thus : litimS .N. J. It will read from
front side of glass: J. N. Smith. The reason for doing
this Avill be seen later on, but audience are told that pic-
ture or object seems to be reflected upon medium’s mind
as a picture in a mirror, and Avliile that makes no dif-
ference in draAving flowers, since they appear the same,
but it does make a difference in names and figures,
that is Avhy glass is used instead of paper in all tests
Avhere letters or figures are transmitted.

A Avatcli is asked for and owner sets it at any arbi-
trary time. Medium draws it as if it were figures, that
is, as it would appear in a mirror.

Number, series, and value of bank note is trans-
mitted next.

If it happens to be anything but a U. S. Treasury
67

note, the' name of the national bank is also included,
number or figure is whispered in performer’s ear, i
lastly a word or name of a city or of an eminent mai
whispered to him and they are reproduced by medii
Other tests may be introduced ad libitum, such a-
domino being selected and. drawn, a word, from a be
etc., etc. I

Explanation — First to be explained is the bag or lit
or blindfold. Get some black or very dark flannel a
crape such as used for widows’ veils. First make al
of flannel to fit over the head, neither too loose nor i
tight. Now cut your crape in same shape, but aboir
quarter of an inch wider and one or two inches long-
so as to fit over the flannel bag, making a hem fa
three quarters to an inch wide ; through it run a rib!
or string with which to tighten bag around neck, n
sew the hem to the flannel, but only half way aroui
this will admit of putting head between crape and flam
as the crape is transparent, medium can see every mu
or motion of performer ; when you are ready to use hot
prepare it by taking black thread, place into a neec
and at the end of the thread, before knotting, place
small black bead, then sew up the open side with lot
stitches and leave the bead on the inside ; draw up uni
bead is close to cloth, and cut off the thread on the Att-
end nearest needle.

The hood will stand temporary examination, wK
performer turns with it to stage, lie simply takes hold:
the bead and can withdraw the entire thread with o:
pull. The head of the medium is placed so he or &
can see through the crape and the string is drawn aron:

68

the neck, this is the reason that the hem is only in the
crape and not in flannel also.

While the medium can see everything, her face can-
not be seen, when the proper kind of crape is used,
neither too thick nor too thin ; there must be no light
directly behind the medium.

If one thickness of crape is too flimsy, use two.

The transmission of the requests of audience depends
upon a kind of finger alphabet, or deaf and dumb
language, there being several kinds, but the following
method is most serviceable and if the performer uses
judgment, no one will attach the least importance to it,
and yet he will be able to transmit almost any desired
word in five seconds.

The letters of the alphabet as well as the figures are
given by playing with the watch chain, and the right
hand alone gives them. Therefore, first let us say, that
performer making his introductory speech or lecture,
already should play with his chain, twist it around his
finger, etc. The left hand has nothing to do with these
signs, it is used to transmit other information.

Here are signs for the left hand first.

Code “A” — Left hand and arm hanging down by
side : I am giving numbers. Left hand akimbo at hip :
I am spelling something. Left band at lapel of coat,
near top button : I am giving abbreviations. If left
hand moves slightly, say three inches or so, while in any
of these positions : I am giving a color by its number.
Shifting your weight from one foot to the other, means ;
I am starting or I am through.

This last sign is used in the following way : If per-

former .only kept bis right hand at the chain when >*
essary it might arouse suspicion, therefore the met
must receive some signal when the performer cf
mences signaling. That is done by standing with j
legs a few inches apart, and shifting the weight of {.
body from one leg to the other, which gives a kill
swaying motion to the body scarcely noticeable to
uninitiated, hut enough for the medium. When thro;
giving signs, instead of always moving hand fromj
chain suddenly, which would also be suspicious, t!
your hand there but shift your weight hack to tkeoi
foot, meaning, “all through,” then even if you keep
the playing with the chain, medium knows that the®
no further meaning to it.

Code “B” — Next we come to the signs of the ri;
hand. We will first explain the 10 figures : It is toj

presumed that the performer wears a dress coat, t
a low cut vest and carries his Avatch in his lower:;

hand vest pocket, with the staple in second or mi!;
button-hole. It is advisable to have the chain sevt!
inches longer than usual length. The chain itself i!

nothing to do with the signaling, it is the right Is!
alone that must he watched by medium and - on w!'

ever portion of the vest the finger-tips rest, indies
what number is meant.

For figure 1, pick up chain at “X”, its middle, a

place fingertips against bottom of vest, directly in
perpendicular line from the watch pocket.

No. 2 Fingertips at watch pocket.

No. 3 Above watch pocket, near upper pocket, ft
Two and Three are on the left side of the vest.

70

No. 4 At bottom of vest where the two parts of vest
meet.

No. 5 At or near the staple.

Four, Five and Six are in the centre of vest, for
cipher the sign is made by twisting the chain around
right thumb, without the help of the fingers. The chain
should generally be held by its centre when it will be
easy to reach the various portions of the vest. For
One, Four and Seven, go as low down as the chain will
permit, for Three Six and Nine as high as you can.

Suppose you had to transmit 1892, which is whis-
pered into your ear while still bending down to the per-
son who whispered to you, you take hold of chain at
“X” in an aimless way, and straightening up face the
medium, let your left arm hang, which means, I am
giving numbers, and when you see that medium is
ready for you, shift your weight, which means, “begin”;
at the same time place the right hand at One, that is,
let the fingertips touch the bottom of the vest below the
watch pocket, the hand must not be stiff. It can play
with the chain, twirling it slightly, but it must be at
One, leave it there a second or two and then slowly take
it to Eight, do not make the movements jerky, but de-
liberately and aimlessly, and remember that no matter
if the hand is held from above or from the side, the tips
of the fingers must be at the figure, then follows Nine,
that is, you simply bring your hand about two or three
inches higher up, still playing, and then finally take it
slowly and carelessly to the watch pocket, which is Two,
never drop your chain suddenly, but shift your weight,
which means all through.

71

The entire signaling should not occupy more ti
from 5 to 8 seconds ; with practice, 30 to 50 letters |
minute which is about one word in 10 seconds can
communicated, long words maydie abbreviated.

We now come to a description of the alphabet. )
omit K and Q at first. A is made just as figure one
as two, C as three, D as four, E as five, E as six, G;
seven, H as eight and I as nine'. Then we begin 05
again: J is one, L is two, M is three, N is four, 0;
five, P is six, E is seven, S is eight, T is nine, but (
these letters J to T shako the chain a little, while 1
former case, A to I, hand is held almost quiet, twirl
the chain slightly will not give a decided motive, shall
the chain gives a decided up and down motion to I
hand and is distinctly visible even at 50 or 60 feet dt
tance. Care must be taken that the finger tips remai
near the places one, two, etc., and not midway betwet
any two numbers. Practice before a mirror, so as it
to get the habit of looking at the hand, and see that!
movements look careless and not stiff, jerky or violent

The letters U and W are given same as cipher, l;
twisting chain around thumb, describing a circle wit!
hand, but in U, circle is made at 4, 1, 2 and 5 that is;
on the lower left side of vest, in W it is made at 5, 2, i
or upper left of vest. The remaining letters K and (
are given by twisting chain around first or index finger!
this will make the circles go in the opposite direction.

The remaining letters are given by a kind of whip
movement.

Grip the chain tightly between first and second finger
and thumb, and make a stroke up and down, as if the

72

chain were a whip. This will give to the hand a kind
of violent up and down movement. If made in centre
of vest . and only once it is a Y, if near numbers 4, 5, 4,
if twice in quick succession it means Z. If at watch
pocket twice, 1-2, 1-2, it means X.

This alphabet should he thoroughly learned and dili-
gently practiced, using small words to start. To show
where one word ends and the next one begins, drop chain
from right hand, remove hand three or four inches and
then pick it up again at X for next word. Don’t forget
to shift your weight at beginning and end of sentence.
If figures are mixed in with words, for example, house
with three windows, drop your left hand at end of
“house with,” to side, and make the three, then raise it
again to hip and spell the next word.

Code “D” Colors — No. 1 red, No. 2 white, No. 3 blue,
No. 4 black, No. 5 brown, No. 6 yellow, No. 7 gray, No.
8 green, No. 9 silver, No. 0 gold. See code for color
signs of left hand. Take a complicated example, white
house with red doors, and three yellow windows. Play
with chain until ready, left hand at hip, “spelling,”
shift weight, “ready,” bend elbow back, “giving figure 2,”
which means color 2 or white, elbow forward and drop
chain, “end of word,” pick up chain and spell “house,”
drop chain, “end of word,” bend elbow back, “color, ”
pick up chain and give No. 1 meaning color 1 or red,
elbow forward again, drop chain, pick up again and
spell door, drop chain, end of word. Drop left hand to
side, giving figures and make 3, raise left hand an inch
or two, which means color in that position, (see code A)
give 6, color 6, or yellow, drop chain, raise left hand to

73

hip, spelling 'again, pick up chain once more and sjh
window, shift weight.

■ This last example is given without trying to abbret
ate and is necessarily much longer than could be accoi
plished by abbreviations. We will now give an examp'
of code used in abbreviating and which one can follow;
improve on to suit themselves.

ABBREVIATIONS .

Class A, animals. Class B, birds.

A, antelope.

B, hear.

C, cat.

D, dog.

E, elephant.

A, angle.

C, cylinder.

D, diamond.

E, ellipse.

0, oblong.

S, square, etc.

M, Man.

A, angel.

B, beard, face.

C, child.

C, chicken.

D, ducks.

E, eagle.

G, goose.

0, ostrich, etc.

C, church,
M, mill.
T, tower.
S, street.

A, apple.

B, banana,

C, cherries, etc.

Class D, designs,

A, anchor.

C, cross.

H, heart.

M, maltese cross,
S, star.

I, Insects.

A, ant.

B, butterfly.

fly.

S, spider.

B, boat.

M, mountain.
T, tree.

G, Geometrical. H, Houses.

F, Fruit Pictures. L, Landscape.

74

P, face, etc. lake.

M Marine View. If you get a suggestion whispered,

say an elephant for example, you face

g ; s hip. medium and give C, A, E — C for

L, lighthouse. class, A for animal, E for elephant,

B, rocks. etc.

B, little boat, etc.

Test No. 2, drawing of compound pictures — Make a
separate list of abbreviations for the various articles
forming the picture.

After collecting the various suggestions, turn toward
medium and give her in 4, 5 or 6 letters and outline.
The first letter showing whether it shall he a landscape,
marine view, or fruit picture. For example, L. M. L.
H. K., meaning landscape with mountains, lake house
and road. This can be transmitted in about 5 seconds,
medium picks up crayons and makes a rough outline of
picture in black, then turns and while picking up the
necessary colors of crayons gives the details, for exam-
ple: 2T, two trees. 3 B, three boats, and in this manner
proceed until the entire picture is finished.

Card Test — If a plain card, left hand hanging.

If a face card, left hand at hip. 1, clubs, 2, dia-
monds, 3, hearts, 4, spades. 1, ace, 2, deuce, 3, tray,
4, four, 5, five, 6, six, 7, seven, 8, eight, 9, nine, 0 ten,
hand hanging. l,.Jack, 2, Queen, 3, King, hand at hip.
For example, King of spades : place hand at hip, and
give 3-4, the 4 for spades and the 3 for King. For six
of diamonds, hand hanging, give 2 for diamonds, 6,
for six.

75

Corniest.

1— Gold,

2 — Silver,

3 — Nickle.

1— $1.00,

1 — 3 cents, "

1 — 3 cents.

2 — $2.50,

2 — 5 cents,

2 — 5 cent old st

3 — $3.00,

3 — 10 cents,

3 — V, or now st

A 4S K 00

4 90 opnt.ct *

rr Vjj? *j , \J y

5 — $10.00,

I \J VVUlij)

5 — 25 cents,

4 — copper

6 — §20.00,

6_50 cents,

—

7— $1.00

1 — one cent.

—

2 — continental c

3 — 2-cent new si

The date

is given backwards,

and the century if

is omitted, if 17, the 7 only, is given, for example a
cent piece of 1863 is transmitted by 2, 6, 3, 6.
first two shows silver, the six shows 50 cents, the tl
is the last and the six the second last figure of date,
would be drawn by medium, reversed. The perfor
explains this by saying, the medium follows the di
tion of my mind, but appears as though all suggest:
are not caught as given, but exactly the reverse, i
picture in a mirror, or a negative in a photograph.
bluff enables the performer in all such tests where s]
ing is necessary, to give the signs at one time, for
medium standing behind the glass facing performer
does not have to turn around as would be the cas
drawing on the paper. The coin test paves the war
the visiting card test, ask for any visiting card and s
the name backwards to medium, first give her two
ters, when she has drawn the first one, or really the

76

.one, give one more and in that manner keep one letter
ahead all the time.

The watch test is similar to coin test, hut it is done
on the glass.

1-Gold hunting case. 2-Silver hunting case. 3-
nickle hunting case. 4-Gold open face. 5-Silver open
face. 6-Nickle open face. Left hand at hip if stem
winder. Left hand hanging if key winder. Example —
Gold open face watch with extra dial for seconds and
stem winder, time 4.48. Signs, left hand at hip, stem
winder. 4-Gold open face, shaking chain, little dial, 3-
4-G, making 4 signs in all. This drawn in reverse on
glass which from front will show 12 minutes of 5,
gold.

The figures may ho omitted in drawing, to save
time.

Bank note test: This will hardly need descrip-

tion.

1-equals §1.00,. 2-$2.00, 3-$5.00, 4-$10.00, 5-$20.00,
0-§50.00,7-$100.00, 8-§200.00, 9-f 500.00, 10-$1000.00.

You spell and give the numbers backwards, just the
same as in visiting card test, giving the value first.

The whispered word test — This test is executed just
like the visiting card test, spell backwards, one letter at
a time and written on glass.

Other tests will readily suggest themselves and in fact
they are without limit.

The tests should be so arranged that each varies from
the one preceeding it. Don’t introduce a visiting card
and a whispered word test in succession. They are too
near alike.

77

44 The Great Shooting Act.

A file of soldiers march out from a line, one on ea
side of stage. The one in command takes each gunse\
arately and hands same to performer who looks throe;
barrel, then hands same back, until all six guns hr ,
been inspected. Then performer steps to one side
stage. The commander now calls for cartridges, ea:
man takes a cartridge from his cartridge-bag, cor
mander collects them on a plate, where the soldiers J,
posit same. They are now handed by the command:
to the audience for inspection, and are marked by and
ence for identification. Commander collects cartridg
on plate goes to stage and hands each soldier a bulk 1
The soldiers hold up the bullets till the last moment ;
audience can see them. Commander now orders tha
out on foot board, about forty feet from performer. Cor
mander gives orders to aim and fire, which they do ai
performer catches the bullets.

Explanation — The Springfield Bifles are “0. K.” 1
cartridges are fixed, that is, the bullets are only fitti
into shell tight enough not to come out easily, so as I
allow inspection, (people do not generally try to pull »
the bullet.) Each militia man gets one of these bullet
which when order for bullets is given are handed to con
mander, he allows them to be inspected, marked, etc.
then collects same on a plate. As he returns to stage 1
goes as far back as possible, while doing so he change
the cartridges, substitutes cartridges that have wax tip
formed like a bullet, coated with plumbago. The si
diers hold up these bullets. Audience cannot distir
guish but that the bullets are “0. If.” These are load;

:8

into rifles, the effect when fired is same as a blank shot.
When commander returns with plate on which bullets
have been collected, he leaves the real bullets, which are
quickly extracted from the shell and handed to per-
former, who apparently catches them when fired at him.

Th e State L ibrary of Victoria
“ALMA CONJURING COLLECTION”

45 Head of Ibykus, or Talking Skull.

While your assistant shows the head around to the
audience holding it on a platter or server, you put two
chairs back to back, a short distance from each other.
At one side of stage is a small table on which lies your
wand and over the wand lies a strong black thread, both
ends of which lead off to your assistant behind the
scenes or in the next room. Near this table stands a
sheet of glass, which has been ground smooth on both
sides. You fetch this, let it be examined, and as you
return to stage, place it upright in your left hand, and
let it lean against the left shoulder, with your right, hand
pick up wand thread with it, lay the hand on the upper
narrow side of the glass plate, hold it out in front of you
flat, i. e. level, and assistant lets thread loose enough
and holds both ends wide apart, so that the middle lies
around the right narrow side. As soon as this is done, '
place glass on the chair backs, pressing it down on the
four corners where it strikes the chair sides, on top of
which it rests and on each one of same is previously put
a little wax so glass rests securely. Now assistant has
the thread under control, it goes from his right hand
over and across the glass, around the narrow side and

79

back to bis left band, and be can pull it back and for
without its sticking. You now take bead, place it t
glass behind the thread and take the upper thread, whi:
assistant lets loose a little and loop it once around t.
pin in lower jaw. Now if assistant holds left thre;
securely and pulls on the right, the head nods, and ill;
pulls first one and then the other to and fro, her
moves back and forth on glass. First meaning “If
second “no.” Now you can put a globe over it to sir
there is no connection, but see that a foot is on t:
globe or a slit in it, that is towards front, so thread ci
move easier. Now of course head answers question
and tells chosen cards, and always looks or turns sit
ways whenever you face audience, but when you face i
it faces you or straight ahead as though nothing k
occurred. This always awakens laughter, and final
you catch the head at it, and ask why he is always loot
ing to one side, if his bride is there ? And he ansm:
with a yes. And so on, tells age of person, how man
years before a young lady will marry, if she will t
blessed with children, etc., etc., and to last question:
keeps on nodding (knocking or rapping) till yc
command it to stop, and immediately goes at it again
Now ask one or two gentlemen to come up and lift tfc
glass globe and examine all. Before gentlemen gf
there, ask the head if he knows them, no. Ask if th?
can come up and examine him, yes; and as the;
approach, assistant lets upper thread loose, and pi
the lower slowly and quietly, and loop works off the pi
and then pull in quickly so gentlemen can examine. 1
head is to answer by moving jaw, etc., take out the pi

80

from upper right back of lower jaw, and then jaw moves
on pulling the thread.

If head is to smoke, place it on table top, in which
are two ferules fitting into holes in bottom of head, from
the lower ends of these lead out two rubber tubes, back
to assistant. Place a cigarette in left opening between
teeth, hold match to it, assistant draws and blows smoke
through the other tube, if smoke is not strong enough,
assistant has another cigar to smoke, and head quietly
smokes the cigarette while you prepare for another
trick.

46 Tlic Mango Tree.

The rod of the table which may be a glass topped
one, contains a piston, to which are fastened or rather
hinged, ribs of an umbrella, the whole contrivance
lying folded up in tlio hollow leg of the table. When
the string of piston is pulled, the latter raises above
surface of table and the hinged arms spread out by
their own weight.

The piston rod has branches or arms which are made
to resemble branches of a pink plant or rosebush by
attaching to them feather leaves and flowers. (Pinks
folding smaller than roses are preferable.) The flower
flower pot used is a double one consisting of a heavy
outside bottomless shell, the inside pot proper being
made of tin and filled with sand. After being exam-
ined the inside pot is got rid of, leaving only outside
pot which is placed on table. In due time the piston
raises and under cover of the handkerchief laid over

■81

the pot, the tree expands and visibly grows, till at |
it has attained its proper height. It is then shovnl
the flowers which are detachable, are apparel
snipped off and thrown over into a basket, which is j
changed for a similar basket of natural flowers, wt|
are then distributed to audience. [

47 Queen of Knives.

Have a large block of wood about one foot in dit
eter, fasten into the floor or ground, it is about 31-
high and round. Have a knife about two feet long, i
inches wide and 1 J inches thick. (It is made lilt
corn cutter) with a handle. This is driven into:
wood, the sharp edge, and with a sledge hammer dr
it down further. Have an iron bust (corset) or ap;
ratus like the old “Suspension,” but it works in:
back of lady. Lady keeps her legs crossed whensk
placed on the knife. The notch must fit “snug" or;
the edge of knife. She wears a fancy “Mother H:
bard” dress, with a 4-inch lace collar to hide their
notch. When lady walks the iron is between berk
It is made long so she can rest when laying on it.

48. The Appearing Lady.

On the stage is a platform which is raised above t
floor by four legs about 6 inches high. On this pis
form are four uprights, one at each corner, this formii

82 .

a frame on which to hang the curtains. . Back of this
there is a screen made of red calico. The performer
goes behind the platform and pushes a stick through to
show that there is no mirror, etc., underneath it. The
performer and assistant now prepare to put a curtain
around the frame work. Performer and assistant each
takes hold of the curtain and pull against each other
to show that there is nothing concealed in it. This is
done in front of the platform and conceals a small mir-
ror being dropped under the platform by an assistant
below the stage. It is dropped at an angle to reflect
the bottom of the platform which is covered with the
same kind of cloth as the background. Performer and
assistant take the curtain and place it on the frame
work and form a cabinet. Performer standing in front
holds the curtain with one hand and counts 1-2-3, cur-
tain opens and there stands a lady dressed in white.
She comes through a trap in stage and platform, the
small mirror preventing her from being seen while
ascending. Or have only trap in stage and let her come
in the cabinet through a slit in the back.

49. The Escape From Sing Sing.

For the illusion you have two cages, each 7 feet
high and 4 feet wide and 4 feet deep. Each cage rests
on 4 legs which elevate them eight inches above the
stage floor. The sides and the door have dark red cur-
tains and the back has a curtain of the same color as
the stage is draped with; usually a dark grey to repre-
ss

sent a cell. Tlie sides, front and back of the e
also have wooden rods running up and down. I
are blackened so as to look like, iron, they are a:
half an inch thick and are set in the framework of :
cage about 4 inches apart. Three or four of these:
are loose at the back and can be moved so the prise
can come through. Each cage has a small shelf at
back for the assistant to stand on. To work
illusion you require two. men dressed alike as priso:
and one dressed as a policeman or guard. Whei
stage curtains go up the cages are standing well l ;
on the stage. Cage number 1 has all curtains up :
the performer walks behind this when entertain
Number 2 has back curtain down and as it is of
same color as the stage background, the audienceic:
see it nor the guard who stands on the shelf behind
Now prisoner number 1 rattles chains in the wings:
comes running on stage. Performer stops him at p;
of revolver and puts him in cage number 2, and A
the door and pulls down the curtains. Soon a voice
heard calling, “let me out,” performer opens the d
the prisoner has gone and there stands the guard,
this moment the prisoner comes running in throe
audience to stage. Performer and guard seize him a
put him in cage number 1, and close doors and di
blinds of both cages. Eire pistol. Open cage doors
blinds of both cages and behold the prisoner is seen
cage number 2. You see that when performer f
prisoner in cage number 2, he removes the back k
lets down the curtain and changes place with the poli
man, who raises curtain, puts back bars and then e

84

to be let out. The other prisoner then rushes in
through the audience. Now when they put him in cage
number 1, he gets behind the curtain and the prisoner
in cage number 2 comes into cage and leaves the back
curtain up.

50 Itapid Transit.

A wire is run across the stage. On it are hung two
screens about 7 or 8 feet apart, and about 18 inches
above the stage. Screens are plain wooden frames cov-
ered with paper or cloth. Behind each screen is placed
a stool, the screen hanging about two inches below the
top of the latter. The performer gets on a stool behind
one screen, and extends his hands to show that he is
really there. Then he draws his hands back, and in
one instant, he is transferred invisibly behind the other
screen. Here he shows both of his hands, and travels in
an instant behind the first screen, and then he steps out
before the audience.

Explanation: — The frames are covered with paper
or cloth, and are liung by two hooks, screen 1 is unpre-
pared. Screen 2 is prepared as follows : It has two
' stuffed gloves behind it and a cord holding the dummy
bands behind the screen, the cord leads behind the stage
to your assistant. Performer gets on stool behind screen,
extends his arms and shows his hands. Performer now
draws in his hands behind the screen, and the assistant
slacks on cord and the stuffed hands behind screen 2
drop out of their own weight, and represent the perform-
ers hands. These false hands have white gloves on

85

same as the performer, who has now apparently fu-
eled behind screen 2. Now assistant pulls string. It
causes the dummy hands to fold behind screen 2 a:
performer extends his hands from behind screen 1, a:
then he steps out before audience.

51 Noali’s Ark.

On stage is seen four uprights, upon which rests a:
elegant casket, in appearance of an antique boat;:
the front side of it are two windows. Performer remoit
the cover and lets down all four sides to the stage, I
show that nothing is concealed in it ; ' the sides a:
closed up again and cover put on. A large funnel:
now placed in a hole in top of cover and the perform
proceeds to fill the casket with water, bringing on pail
of water to do so. After water is poured in perform:
opens the windows and takes out a large number of dove-
rabbits, ducks, cats and all kinds of articles, etc., tte
removing cover, white clouds ascend and a lady is see
rising out of the casket, dressed to represent the rat
bow. This is a first-class sensation, and a sure lit
No mirrors, black curtains or reflections used.

Secret — The front and back and both ends let don
to show empty. There is a small shelf on back of boa:
where girl is. You let front down first, then ends ant
back. Front and ends keep audience from seeing git
on back when it is down. Put back up first then end;
and front. Then pour in water and put on the boxes.
As soon as front is up girl opens back and connects i

rubber hose to end of funnel which is placed in hole on
top, the other end she places in hole on top of one of the
legs, (all four of the legs are hollow and will hold a large
pail of water,) after each pail of water she places rubber
tube in different leg until four pails of water have been
poured into top of boat. As soon as done girl takes
animals out of one of the compartments and places same
in box nearest that end and then she takes some out of
the other end and then hack to first end, and so on until
all the things have been produced. Then in due time
she pushes up the lid of boat and makes her appearance
on top of boat. Lady should he dressed in a very hand-
some costume.

While performer takes stuff out of one of the boxes
girl is loading other box, these boxes form the ends of
ark.

52 Tlie Oriental Barrel Mystery.

On stage is seen standing a platform about twelve
inches high. Performer going behind platform pushes
a sword through underneath it in order to show that
audience can see beneath it. He then shows an ordi-
nary newspaper and places this upon the platform. He
then brings forward a common ash barrel and puts this
on top of the paper and platform. He then introduces
the young lady with whom he is going to perform the
illusion. He gives her a pistol and places her in the
barrel, and tells her to crouch down so that he can put
the cover on. Performer then asks lady to hold out the

87

revolver and one of her bands from beneath the covers,
audience can see that she is there all the time. Tfe
barrel is held together with two hoops, one at the to;
and one at the bottom, and by a piece of string ties
around the centre. Performer commences to remove
the hoops, the bottom one first and then the top one,
The barrel is now held together by the string only. Lad;
is instructed to shoot when he says three. Performer
counts 1-2-3 and at the word “three” pistol is heard, the
barrel falls apart, the lady is gone ; audience look up in
the gallery and see lady standing there.

Secret — When performer introduces lady all eyes are j
naturally turned upon her and audience fail to see that
a curtain is lowered between the two front legs, by an as,
sistant beneath the stage. There should be a screen of
the same color behind the platform. The barrel plat-
form and stage each have a trap in them so the lady
can go down. The newspaper is also prepared by being
mounted on stiff cardboard and this also has a trap cut
in it. When the performer tells the lady to crouch down
she goes through the trap, beneath the stage and hur-
ries up into the gallery or other place of appearance,
The assistant immediately pushes up, by the aid of a rod
a pistol and dummy hand. The hand is made of a
stuffed glove which is the same color as the one the lady
wears. The performer takes his time in removing the
hoops of the barrel in order to allow the lady opportunity
to reach her place, when he starts to count 1-2-3, the as-
sistant underneath the stage takes in the pistol and
dummy hand and closes the traps. At three the lady-
in gallery shoots the pistol. At the same instant the

88

performer cuts the string and the barrel falls apaft. The
construction of this illusion is as follows : The bottom

of the trap is a solid wooden rim with a star trap in the
centre, each stave is fastened to this rim with a hinge
which helps to hold the staves together when the string
holds them without the hoops, hut which will allow them
to fall outwards when the string is cut. The lady should
wear an Eastern costume.

53 The Artist’s Dream.

This wonderful and charming illusion is meeting
with great success in England. A large frame with a
curtain in front rests on a three step platform on stage.
Artist pushes aside the curtain, removes canvas with
picture of lady on it from frame, turns canvas and
frame around to show that no one is concealed anywhere
about the frame and canvas. The canvas is then re-
placed in the frame, curtain drawn in front of frame
and the artist seats himself on a chair, apparently goes
to sleep and dreams that the picture came to life.
While in pretended dream curtain opens and a living
lady steps from the frame, artist awakens and sees
her; they exchange a few words, then she goes back into
frame; artist says, has my model come to life or have
I dreamed it. He goes to the frame opens the curtain
and there finds only his painted canvas ; the lady hav-
ing vanished.

The canvas with the painting on it is on a separate

89

frame or stretcher which is very heavy, the top piece o!
this frame is hollow and contains a roller on which the
canvas rolls up the same as the curtain in the watch
frame. On the back of the stretcher on each side is a
handle, these handles are apparently placed there for
the artist to lift the frame in and out by. But they
serve another purpose which will be stated below. Al
the top corners of the stretcher are fastened two wires
which lead up to the flies, over a pulley and then down
behind the screens to the assistant, when the wires are
slack the stretcher may be turned around just the same
as if they were not there. The large frame is on rol-
lers and may be turned around to show that there is
nothing concealed in or behind it. After showing
frame and back and front of canvas artist sets the can-
vas back into the frame. When tho canvas stands on
the floor in position to replace, the lady comes up
through trap door behind the canvas which conceals the
movement, she takes one of the handles referred to
above in each hand and places her feet on the lowerpart
of the stretcher which projects enough for her to get a
passable footing. The artist now raises the canvas
back into the frame. The wires attached to the
stretcher are pulled by your assistant, this makes the
lifting of the stretcher with the lady on it easy enough,
Now all the lady has to do is to unfasten the canvas
and let it roll up into the stretcher, she now steps oui
on the stage from under the curtain. After she goes
back she lowers the canvas and hooks it. The artisi
then pushes aside the curtain and finds only the painted
canvas.

90

54 New Half Lady Illusion.

In the centre of the stage or on a platform is seen a
half lady resting on a wooden horse with 4 legs. The
stage or platform must be 4 feet high. The trestle is 3
feet high and 3 A feet long. On the top of the centre of
the trestle make a bust like that used in “Swinging
half lady” and have it ironed on the trestle and finely
finished. Black cloth is tacked to the back of the two
rear legs. The walls at the back are draped with the
same kind of goods. Have a framework in front and
partly over lady, on which you hang curtains. When
you open the curtains audience sees the half lady rest-
ing on the trestle. The lady is behind the trestle rest-
ing on her knees, and leaning against the bust, which
should be dressed in some light color. No lights are
needed to shine inside as the front curtain hides every-
thing. Have it very dark at back of front curtain and
the trestle fastened to the floor.

53 Edgar Poe’s Raven in the Garland of Thebes.

A fine raven sits in a beautiful garland of roses, sus-
pended in midair by two ribbons, bird talks, sings, whis-
tles and tells fortunes with startling effect. Raven is a
fine stuffed bird surmounted by a garland of flowers
which is suspended by attaching the silk ribbons to gar-
land at sides opposite the bird’s mouth. These ribbons
are double and contain a rubber tube, the ends of which

91

are concealed among the flowers. Assistant behind
sings, speaks and whistles into a metalic chamber con-
nected with one of the tubes, the sound passing out in a
direct line with bird’s mouth, apparently coming from it.

5G Samuel’s Cartomantie Floral Cliarm.

A pack of cards transformed to a profusion of flow-
ers. Secret — A hollow metal fake pack is loaded with
spring flowers, (roses) having a loop at end, hanging
out, and through which performer passes his thumb,
and produces flowers, vanishing pack up sleeve by the
usual clip.

57 Samuel’s Mystic Percolator.

A glass percolator (two gallon size) is used for this
experiment. Percolator is shown to company perfectly
empty, covered with a shallow silver cover, and given to
a lady or gentleman to hold upright. A largo silk hand-
kerchief is thrown over it to exclude the light. Per-
former now empties a cornucopia of paper roses, which
were a few moments before mysteriously produced from
cone, right into tube of his blunderbuss, (large size tube)
and shoots flowers into the percolator, where they are
found as soon as the handkerchief is removed fromit.
Flowers are concealed inside silver lid of percolator (on
principle of coin cork) so. that pressing a small project-

92

ing pin on top of cover when throwing handkerchief
over it, the trap door bottom gives way and the spring
flowers fall out, a spiral spring closing door again.

58 Samuel’s Wonder Kraut.

A cabbage is transformed to an Aquarium contain-
ing live fish. A small aquarium having mouth closed
by rubber cap, same as fish-bowl trick, is inserted in-
side an artificial cabbage, made of cloth, or cloth and
rubber, nicely painted to resemble the genuine arti-
cle. Colored silk handkerchief is thrown over cabbage
and both covers removed at the same time.

59 Samuel's Magic Squeezers.

Performer, during the performance of some trick,
requires a glass of wine, taking a deck of cards in hand
lie squeezes them tightly several times until a whole
glass of wine is extracted from them.

Secret — There is a faked deck, picked up with four
or five cards in front to spread out to prove genuineness.
Piemove pellet of wax or wooden plug from air hole and
wine runs out of small hole in bottom of fake. The fake
pack is made of tin, having nicely painted edges and
real cards glued on front and back. Fill fake with a
small fine-tubed syringe. A very effective trick used in
conjunction with flying glass of water or wine.

93

60 Samuel’s Wine Tassels.

Two tassels hang in any appropriate place on the
stage, apparently for mere drapery effect. They are
made to resemble the ordinary heavy, every-day tassel,
used to tie up heavy curtains, etc., the body of tassel is
hollow spun metal of sufficient capacity to contain a full
glass of wine. Air hole in top of fake. ‘Plug in bottom
drawn out of fake by performer pulling smartly on
thread which hangs below tassel, at a very short dis-
tance thread is not visible.

An extraordinary improvement can be made by hav-
ing a rubber tube covered to represent cord, connected
with one of these tassels by an opening made in the top
of the hollow receptacle. Rubber tube fitting over a
hollow metal connection.

Cl Samuel’s Bloodstone Wonder.

A large white stone is inspected. Performer remarks
that the old adage declares that you cannot get blood
out of a stone, but this is now made possible by the
charmed bloodstone. Here he taps the stone several
times with the hollow metal wand, at third blow wand and
stone are lowered over a tray on table and blood pours
from the stone into a glass tumbler on tray, blood comes
from wand, blood is then vanished by vanishing glass of
water, etc. Stone is wrapped in paper and the package
exchanged on servante for one containing a loaf of bread
of same size, this is placed on run down. Performer
fires wand at package, opens it and states that Satan

94

lias commanded the stone to change to bread. This
bread can contain previously borrowed arricles, or cards
to-be produced from it.

62 Samuel’s Handkerchief Tassel.

Tassel is made similar to wine tassel, except a slight
alteration in base, this one being perfectly open. When
performer desires a large and beautiful silk handker-
chief, he simply puts his finger through a loop at end of
a silk thread hanging a few inches below the fringe of
tassel and while calling attention to something in the
air, he makes a downward sweep of the right hand in-
stantly disclosing the handkerchief, flag, glove, etc., silk
ribbons or anything else capable of being hidden be-
neath its mystic recess.

63 Samuel’s Golden Flash of Light.

A ladies’ handkerchief is borrowed, ring for flash
handkerchief of same size. Handkerchief is ignited and
disappears instantly in a flash leaving in sight nothing
but a heap of gold coins in performer’s hand. Purchase
from Western News Co. a Columbus souvenir pile of
gold coins sold for paper weights, attach a cat gut or
wire loop to it and suspend it on back of left hand, under
cover of flash handkerchief, swing it into palm, when
you place handkerchief there to vanish.

95

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